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Full text of "E-mu Proteus Owner's Manual"

PROTEUS 

16 BIT MULTI-TIMBRAL DIGITAL SOUND MODULE 

OPERATION MANUAL 



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Proteus operation manual 



CONTENTS 



INTRODUCTION 3 

Proteus System 6 

CONNECTION INSTRUCTIONS 7 

Basic Setup 7 

Performance Setup 8 

Studio Setup 9 

BASIC OPERA TION 13 

Selecting Presets 14 

Selecting MIDI Channels,Volume and Pan 14 

Multi-Timbral Operation 15 

Master Menu Functions 16 

About the Proteus 24 

PROGRAMMING BASICS 27 

Modulation 28 

Proteus Modulation Sources 29 

Envelope Generators 30 

Low Frequency Oscillators 31 

MidiPatch 32 

Keyboard and Velocity Modulation 33 

Key Number 34 

Velocity Curves 34 

Realtime Modulation 35 

MIDI Realtime Controls 36 

Stereo Mix Outputs 38 

EDIT MENU 41 

Enabling the Edit Menu 41 

Edit Menu Functions 

Preset Name and Keyboard Character Charts 42 

Mix Output 43 

Primary Instrument 43 

Secondary Instrument 43 

Key Range 43 

Primary Key Range 44 

Secondary Key Range 45 

Volume 45 

Pan 45 

Coarse Tuning 46 

Fine Tuning 46 

Chorus 46 

Delay 46 

Solo Mode 47 



4 



Proteus operation manual 



CONTENTS 



Sound Start 47 

Reverse Sound 47 

Alternate Envelope On/Off 48 

Primary Alternate Envelope Parameters 48 

Secondary Alternate Envelope Parameters 48 

Crossfade Mode 49 

Crossfade Direction 50 

Crossfade Balance 50 

Crossfade Amount 51 

Cross-Switch Point 51 

LFO - Shape and Amount 51 

LFO - Rate and Variation 52 

Auxiliary Envelope 53 

Keyboard and Velocity Modulation Control 54 

Realtime Modulation Control 55 

Footswitch Control 56 

MIDI Controller Amount 56 

Pressure Amount 56 

Pitch Bend Range 57 

Velocity Curve 57 

Keyboard Center 58 

Keyboard Tuning 58 

Preset Links 59 

Save Preset 60 

PROGRAMMING PROTEUS 63 

Linking Presets 63 

Editing Presets 64 

Proteus Synthesis 66 

Using Proteus with a Sequencer 68 

Using the 32 Channels 70 

Using External Processing 71 

Proteus Patch Sheet 72 

REFERENCE SECTION 73 

Proteus/ 1 Factory Presets 74 

Proteus/1 Instrument Listing 76 

Proteus/1 JOUsT. Orchestral Presets 86 

Proteus/1 fc>U>2 Orchestral Instrument Listing 88 

Proteus/2 Factory Presets 92 

Proteus/2 Instrument Listing 94 

Proteus/3 Factory Presets 104 

Proteus/3 Instrument Listing 106 

LFO, Delay and Envelope Times 116 

Technical Specifications 117 

MIDI Specifications 118 

INDEX WARRANTY 



Proteus operation manual Introduction 



INTRODUCTION 



Proteus operation manual 



Proteus operation manual 



Introduction 



INTRODUCTION 



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IrVAiaf is PROTEUS? 

Proteus is a musical instrument whose sounds are based on actual digital 
recordings of "real" instruments. In this way the Proteus is very similar to 
a sampling instrument. With the Proteus, we have done the sampling for 
you and loaded it with some of the cleanest 16 bit sounds ever sampled. 

Proteus begins with sound. Four megabytes (internally expandable to 8 
megabytes) of the highest quality 16 bit samples selected from the 
Emulator III sound library and stored in ROMs for instant access. 
Everything you need to play and compose in a wide range of contempo- 
rary styles. You simply plug in and play. 

But this is only the beginning. Proteus gives you the ability to literally 
take these sounds apart and reassemble them into an almost limitless 
number of entirely new sounds, combining parts of one sound with 
another or with any of a selection of digital waveforms also stored on 
ROM. For example, the attack of a flute can be faded out as a vibe tone is 
faded in, giving you a completely new sound! The monophonic and true 
stereo 16 bit samples are arranged into 192 preset locations, 64 of which 
are user-programmable. 

Proteus also features 32 voice polyphony allowing you to take full 
advantage of its layering capabilities (up to 8 sounds on each key) and its 
ability to respond multi-timbrally to all 16 MIDI channels makes it ideally 
suited for multitrack sequencing and composing using a MIDI se- 
quencer. 

Other features include 3 stereo outputs for individually processing 
sounds (also configurable as 6 polyphonic submixes with fully program- 
mable panning), integral sends and returns to allow the addition of 
external effects units without the need for a separate mixer, user defin- 
able alternate tuning, and of course, an extensive MIDI implementation. 



8 



Proteus system 



Proteus operation manual 



THE PROTEUS SYSTEM 



Proteus is organized as shown in the diagram below. 









PRIMARY 


PRESET 






SECONDARY 







INSTRUMENT 



INSTRUMENT 



The Preset is a complete set of all program parameters for a complete 
Proteus sound. There are 192 preset locations in the Proteus. 
Presets 0-63 are unalterable factory presets, presets 64-127 are user 
presets which can be changed, and presets 128-191 are unalterable 
factory presets. 

Each preset consists of one or more instruments. An instrument is a 
complete set of samples or a digital waveform which covers the entire 
keyboard range. An instrument can be assigned to each of the Primary and 
Secondary layers of the preset. 

The primary and secondary layers are essentially two complete sounds 
stacked or placed adjacent to each other, and can be switched or 
crossfaded together in various ways. 

Up to four presets can be Linked in order to have more than one preset on 
the keyboard at a time. The linked presets may overlap each other for 
layered sounds or be adjacent to each other to create keyboard "splits". 







PRESET 


PRIMARY 






SECONDARY 







-* 



LINK1 



PRESET 



^ 



LINK 2 



PRESET 



^ 



LINK 3 



PRESET 



Proteus operation manual 



Connection Instructions - Basic Setup 9 



CONNECTION INSTRUCTIONS 



MIDI Controller 

(MIDI Keyboard, Sequencer, etc.; 



Setup #1 BASIC SETUP 







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This diagram shows a typical equipment setup for the Proteus. 

MIDI In - Proteus is controlled by MIDI messages received at the MIDI In 
connector. Connect the MIDI In of the Proteus to the MIDI Out connector 
of a MIDI controller such as a MIDI keyboard, MIDI wind controller, or 
MIDI guitar controller. 

Outputs - Proteus is a high quality, stereo audio device. In order to 
reproduce its wide dynamic range and frequency response, use a high 
quality amplification and speaker system such as a keyboard amplifier or 
home stereo system. A stereo setup is highly desirable because of the 
added realism of stereophonic sound. Headphones can be used if an 
amplifier and speaker system is not available. Plug stereo headphones 
into the Left Main output jack. The Right Main output jack serves as a 
mono output when the left jack is not plugged in. 



If Proteus does not 
seem to be responding 
correctly, make sure 
that both Proteus and 
your MIDI Controller 
are set to the same 
MIDI channel. 



10 Connection Instructions - Studio Setup 



Proteus operation manual 



Setup #2 STUDIO SETUP 



MIDI Controller 

(MIDI Keyboard, Sequencer, etc.) 



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M/D/ //7 - In this setup, Proteus is controlled by MIDI messages received 
at the MIDI In connector which have been routed by a MIDI switcher. The 
MIDI switcher allows any MIDI controller such as a MIDI keyboard, 
MIDI wind controller, or a computer to be easily connected. 

MIDI Out- The MIDI Out jack is normally used to transmit program data 
to a computer or other device. 

Outputs - Proteus has three sets of programmable stereo outputs; Main, 
Sub 1, and Sub 2. Specific Proteus instruments can be routed to one of 
these stereo pairs in order to be further processed or mixed separately. 



Proteus operation manual 



Connection Instructions- Performance Setup 



11 



Setup #3 PERFORMANCE SETUP 



MIDI Controller 

(MIDI Keyboard, Sequencer, etc.) 



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MIDI In - Proteus is controlled by MIDI messages received at the MIDI In 
connector. Connect the MIDI In of Proteus to the MIDI Out connector of 
a MIDI controller such as a MIDI keyboard, MIDI wind controller, or 
MIDI guitar controller. 

MIDI Thru - The MIDI Thru jack is used to connect additional MIDI 
devices onto the MIDI chain. MIDI Thru transmits an exact copy of the 
messages received at the MIDI In jack. 

Outputs - Each of the Sub 1 and Sub 2 output jacks on the Proteus are 
stereo jacks. The tip of each jack (accessed when a standard phone plug is 
inserted) connects to the left or right output of that group. 



12 



Power Up! 



Proteus operation manual 



If a stereo plug is inserted, the Ring of the stereo plug serves as a signal 
Return which sums into the Main outputs. 

Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returns 
in order to further process selected instruments and then return them to 
the main mix. 

The diagram shows the Sub 1 and Sub 2 jacks being used as send/returns 
in order to further process selected Proteus instruments without using 
the effects bus on the mixing board. In a pinch, the effect returns could 
also be used to sum additional instruments into the main outputs of the 
Proteus. 



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The Sub 1 and Sub 2 jacks can be used as effect returns to the Main Outputs. 



POWERUP! 

The power switch is located on the left side of the front panel. The 
Proteus and its MIDI controller may be turned on in any order. When 
power is applied, the liquid crystal display will light, indicating that 
the Proteus is operating. 

You may have noticed that there is no 110/220 Volt power selector 
switch on the Proteus. 

Proteus automatically switches itself for 110 or 220 Volt operation. 



Proteus operation manual Basic Operation 1 1 



BASIC OPERATION 



72 Proteus operation manual 



Proteus operation manual 



Main Controls 13 



BASIC OPERATION 



MAINCONTROLS 



MIDI 
ACTIVITY 



EDIT MENU 
SELECT 



CURSOR 
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■ Power Switch - Switches AC power to the Proteus ON and OFF. 

■ MIDI Activity LED - Indicates that MIDI data is being received. 

■ Master Menu Select Button - The Master menu contains parameters 
that affect the entire machine, not just certain presets. An illuminated LED 
above the button indicates that you are in the Master menu. 

■ Edit Menu Select Button - The Edit menu is used when you want to 
change parameters of a preset. An illuminated LED above the button 
indicates that you are in the Edit menu. 

■ Enter Button - The Enter button is used to initiate a particular operation 
within the Proteus. The red LED above the enter button flashes to let you 
know that the Proteus is waiting for your response. 

■ Cursor Control - This button moves the cursor to the next parameter 
on the display. (The cursor is a little flashing line underneath one of the 
parameters in the display.) Press the cursor control repeatedly until the 
cursor is underneath the desired parameter. The cursor can also be moved 
bidirectionally using the data entry control while the cursor select button 
is being held down (i.e. Press and hold the cursor button and turn the data 
entry knob). 

■ Data Entry Control - The data entry control is a stepped, variable 
control which is used to change parameter values. The control increments 
or decrements the current value one unit with each click. 

■ Volume Control - This is the master volume control for all audio 
outputs. Note: For maximum dynamic range, set this control at full level. 



14 



Preset Selection 



Proteus operation manual 



BASIC OPERATION 



■ If your Proteus is not 
responding properly or 
plays the wrong preset, 
make sure that Proteus 
and your MIDI control- 
ler are set to the same 
MIDI channel and that 
the MIDI Volume is 
turned up. 

For more information 
about MIDI, see MIDI 
Realtime Controls on 
page 36. 



■ Channel Pan should 
normally be set to "P" 
unless realtime control 
of panning is desired. 
This will allow the pan 
settings programmed 
for each preset to be 
used. 



MIDI CHANNEL SELECTION 

Press the cursor key repeatedly until the cursor is underneath the channel 
number. (The cursor is a little flashing line underneath one of the 
parameters in the display.) Rotate the data entry control to select MIDI 
channel 01-16. As the channel is changed, the display will change to show 
the preset, volume and pan associated with the displayed channel. 



C01 Vol 127 Pan+0 
000 Preset Name 



PRESET SELECTION 

Press the cursor key repeatedly until the cursor is underneath the preset 
number. (The cursor is a little flashing line underneath one of the 
parameters in the display.) As the data entry control is rotated, the preset 
number and name will change. The displayed preset will be assigned to 
the displayed MIDI channel. Preset numbers range from 000 to 191 on a 
standard Proteus or from 000 to 383 on the Proteus XR. 



C01 Vol 127 Pan+0 
000 Preset Name 



MIDI Channel Parameters 
Preset Information 



CHANNEL VOLUME 

Press the cursor key repeatedly until the cursor is underneath the volume 
value. Rotate the data entry control to select volume 00-127. (This is the 
same parameter as MIDI volume control #7, and changes made over 
MIDI will be shown in the display.) 



CHANNEL PAN 

Press the cursor key repeatedly until the cursor is underneath the pan 
value. Rotate the data entry control to select pan values -7 to +7 or "P". 
When "P" is selected, the pan value specified in the preset is selected. Any 
other value will override the pan parameter in the preset. (This is the same 
parameter as MIDI pan control #10, and changes made over MIDI will be 
shown in the display.) 



Proteus operation manual 



Multi-Timbral Operation 



15 



BASIC OPERATION 



MULTI-TIMBRAL OPERATION 

Multi-timbral operation means that the Proteus can play more than one 
sound at the same time. To access multiple presets on different MIDI 
channels simultaneously, follow these instructions: 

1. Set the MIDI mode to MULTI-Mode, using the MIDI mode function in 
the Master menu (page 18). 

2. Decide which MIDI channels you wish the Proteus to receive, and turn 
all other channels OFF using the MIDI Enable function in the Master 
menu (page 19). Up to 16 channels can be selected simultaneously! 

3. Select the desired preset for each of the MIDI channels you wish the 
Proteus to receive using the MIDI Channel/Preset selection screen (see 
previous instructions). 

4. Proteus will now respond multi-timbrally on the MIDI channels you 
have specified. The volume and pan position parameters can be adjusted 
over MIDI (for each MIDI channel) or using the Cursor and Data Entry 
control in the MIDI Channel/Preset selection screen. 



Channel 01 


Volume 


Pan 




Channel 02 


Volume 


Pan 




Channel 03 


Volume 


Pan 



-> PRESET 



-> PRESET 



-> PRESET 






Channel 16 


Volume 


Pan 



->► PRESET 



Each of the 16 MIDI channels can be assigned to play a specific preset in Proteus. 



16 



Master Menu 



Proteus operation manual 



MASTER MENU 



The Master menu contains functions that affect the overall operation of 
the Proteus. For example, changing the Master Tune will change the 
tuning of all the presets, not just the one currently displayed. 

To enable the Master menu: Press the Master key, lighting the LED. The 
current screen will be the one most recently selected since powering up 
the Proteus. The cursor will appear underneath the first character of the 
screen heading on line one. 

To select a new screen: Press the cursor key repeatedly (or hold the 
cursor key while turning the data entry control) until the cursor is 
underneath the screen title heading. Rotate the data entry control to select 
another screen. 

To modify a parameter: Press the cursor key repeatedly (or hold the 
cursor key while turning the data entry control) until the cursor is 
underneath the parameter value. Rotate the data entry control to change 
the value. 

To return to Preset Select mode: Press the Master key, turning off the 
LED. 



MASTER MENU FUNCTIONS 



MASTER TUNE 

Master Tune adjusts the overall tuning of all presets so that the 
Proteus can be tuned to other instruments. The master tuning range is 
+ 1 semitone in 1 /64th semitone increments. A master tune setting of 
"00" would indicate that the Proteus is perfectly tuned to concert pitch 
(A=440 Hz). 



MASTER TUNE 
+63 



Proteus operation manual 



Transpose 



17 



MASTER MENU 



TRANSPOSE 

This function transposes the key of the Proteus in half-step intervals. The 
transpose range is ± 12 semitones or one octave. 



TRANSPOSE 
+12 semitones 



GLOBAL BEND 

This function sets the range of the pitch wheel only when it is routed to 
control pitch. The maximum pitch bend range is ± 12 semitones. This 
function only affects presets which have their individual pitchbend range 
set to global. 



GLOBAL BEND 

+- 12 semitones 



GLOBAL VELOCITY CURVE 

Incoming velocity data can be modified by a velocity curve in order to 
provide different types of dynamics in response to your playing or to 
better adapt to a MIDI controller. This function allows you to select one 
of the four velocity curves or leave the velocity data unaltered (off) . Global 
velocity curve only affects presets which have their individual velocity 
curve set to global. For more information on the velocity curves, see page 
57. 



GLOBAL VEL CURVE 
4 



18 



Mix Output 



Proteus operation manual 



MASTER MENU 



T Warning: Presets 
will not be transferred 
between two Proteus' 
unless the ID numbers 
of both units match. 



MIX OUTPUT 

This function allows you override the output assignments made in each 
preset and instead assign the outputs according to MIDI channel. This 
also allows you to change the output assignment of the factory presets. 
For each of the 16 MIDI channels, you can select the Main, Sub 1, or Sub 
2 outputs, or "P". When "P" is selected, the output assignment selected in 
the preset is used. If no plugs are inserted into the sub outputs, the audio 
will be automatically directed to the main outputs. 



MIX OUTPUT 
channel 01: P 



MIDI MODE 

This function selects one of the four MIDI modes and the MIDI system 
exclusive ID number. 

■ Omni mode - Proteus responds to note information on all MIDI 
channels and plays the preset currently displayed in the main screen. 

■ Poly mode - Proteus only responds to note information received on the 
currently selected MIDI channel (on the preset selection screen) and plays 
that channel's associated preset. 

■ Multi mode - Proteus responds to data on any combination of MIDI 
channels and plays the specific preset associated with each of the MIDI 
channels. 

■ Mono mode - Proteus responds to data on any combination of MIDI 
channels but plays each channel monophonically. If a new note on a 
channel is played before the last note is released, the envelopes will not 
be retriggered (legato). Mono mode is particularly useful with alternate 
controllers such as MIDI guitars, etc. 

■ ID number - This function allows an external programming unit to 
distinguish between multiple Proteus units. In the case of multiple 
Proteus units, each Proteus should have a different ID number. 



MIDI MODE ID 
Omni 00 



Proteus operation manual 



MIDI Mode Change 



19 



MASTER MENU 



MIDI MODE CHANGE 

This function selects whether or not MIDI mode change commands are 
accepted or ignored when received over MIDI (see MIDI Mode). 



MIDI MODE CHANGE 
Disabled 



MIDI OVERFLOW 

When on, if you play more notes than the Proteus has channels (32), the 
additional note data will be directed out the MIDI Out port to a second 
Proteus or other MIDI device. MIDI Overflow can be turned On or Off. 



MIDI OVERFLOW 
Off 



MIDI ENABLE 

When in MIDI Multi mode, this function lets you turn each MIDI channel 
On or Off. This is useful when you have other MIDI devices connected and 
do not want the Proteus to respond to the MIDI channels reserved for the 
other devices. MIDI Enable only operates in Multi Mode. 



MIDI ENABLE 
channel: 01 On 



PRESET CHANGE 

This function lets the Proteus utilize or ignore incoming MIDI preset 
change commands for each channel. Note that MIDI can only select 
presets 000-127. Presets 128-191 can either be selected manually or over 
MIDI using the mapping function "MIDI PROGRAM -^PRESET". 



PRESET CHANGE 
channel: 01 On 



20 



MIDI Controller Assign 



Proteus operation manual 



MASTER MENU 



Some of the standard 
MIDI Controller num- 
bers are listed below. 

1 - Modulation Wheel or 

Lever 

2 - Breath Controller 

3 - Pressure: Rev 1 DX7 

4 - Foot Pedal 

5 - Portamento Time 

6 - Data Entry 

7 - Volume 

8 - Balance 

9 - Undefined 
10 - Pan 



Some of the standard 
MIDI switch numbers 
are listed below. 

64 - Sustain Switch 

(on/off) 

65 - Portamento Switch 

(on/off) 

66 - Sostenuto (chord 

hold, on/off) 

67 - Soft Pedal (on/off) 
69 - Hold Pedal 2 (on/off) 



MIDI CONTROLLER ASSIGN 

The Proteus allows you to assign up to four realtime control sources from 
your MIDI controller. These control sources could be modulation wheels, 
data sliders or whatever. In this screen, you set up which controllers will 
be received by the Proteus. What effect the controller will have is 
programmed separately for each preset. The Proteus MIDI controllers are 
each assigned a letter, A-D. Each controller letter can be assigned to a 
MIDI realtime controller from 01-31. Note: If controller numbers 7 or 10 
are selected, they will override the standard MIDI volume and pan 
control routings. For more information, see MIDI Realtime Controls in 
the Programming Basics section. 



CONTROLLER # 
A:01 B:02 



Next Screen: 



CONTROLLER # 
C:03 D:04 



MIDI FOOTSWITCH ASSIGN 

Like the MIDI Controllers, 3 MIDI footswitches can be assigned to MIDI 
footswitch numbers. Footswitches can be assigned numbers from 64-79. 
Destinations for the footswitch controllers are programmed in the Edit 
menu. 



FOOTSWITCH # 
1:64 2:65 3: 



66 



Proteus operation manual 



MIDI Footswitch Assign 



21 



MASTER MENU 






Selected 
Program 








1 


2 


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9 





00 


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02 


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1 


44 


191 


50 


01 


15 


88 


151 


78 


99 


88 


2 


34 


73 


106 


55 


43 


75 


12 


120 


121 


180 


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12 


120 


121 


122 


123 


124 


125 


126 


127 







I —I 
1 1_ 



Mapped 
Program 



This chart shows how MIDI preset changes can be re-mapped. In this example, program changes 
10-29 have been re-mapped. All other programs will be selected normally. 



MIDI PROGRAM -PRESET 

Incoming MIDI program changes can be "mapped" to call a different 
numbered preset. This is a handy feature when you want a specific preset 
number sent from the master synth to be linked with a specific preset on 
the Proteus. Simply selecting a preset on the master synth will automati- 
cally call up the proper Proteus preset. Any of the presets in the Proteus 
can be mapped to any incoming MIDI program change number. This 
feature also allows you to call up the presets 128-383, which are not 
normally accessable over MIDI. 



MIDI PR0G>PRESET 
000 > 000 



22 



Send Preset Data 



Proteus operation manual 



MASTER MENU 



To Record MIDI Data 
into a Sequencer: 

1. Setup sequencer to 
receive system exclusive 
data. 

2. Place sequencer into 
record mode, then Send 
Preset Data. 



To Receive MIDI Data 
from a Sequencer: 

1. Simply play back the 
sequence into Proteus. 



■ The Preset, Volume, 
and Pan information for 
all 16 channels is in- 
cluded when the Master 
settings are transmitted 
or received. 

T Warning: When 
transferring SysEx data 
from one Proteus to an- 
other, the ID numbers of 
both units must match. 



Application: 

The user key tuning 
can be used to tune 
individual percussion 
instruments. 



SEND MIDI DATA 

This function will send MIDI System Exclusive data to the MIDI Out port 
of the Proteus. The MIDI data can either be sent to a computer /sequencer 
or to another Proteus. Using the cursor key and the data entry control, 
select the type of MIDI data you wish to transmit. The choices are: 

Master Settings: Transmits all parameters in the Master menu except 

tuning table, program /preset map and viewing angle. 
Program/ Preset Map: Transmits only the program /preset map. 
Tuning Table: Transmits only the user tuning table. 
Factory Presets: Transmits all the factory presets. 
User Presets: Transmits all the user presets. 
Any Individual Preset: Transmits only the selected preset. 

The Enter LED will be flashing. Press the Enter button to confirm the 
operation. To receive MIDI data, simply send the MIDI data into Proteus 
from another Proteus or your sequencer. 



SEND MIDI DATA 
000 Stereo Piano 



USER KEY TUNING 

In addition to standard twelve tone equal temperament, the Proteus 
contains four additional preset tuning tables (Just C, Vallotti, 19 tone, and 
Gamelan) and one user definable tuning. User Key Tuning allows you to 
alter the parameters of the user definable tuning stored in memory. The 
initial frequency of every key can be individually tuned, facilitating the 
creation of microtonal scales. Using the cursor key and the data entry 
control, select the key name, the MIDI key number and the fine tuning. 
The key name is variable from C-2 to G8. MIDI key number is variable 
from to 127. The fine tuning is variable from 00 to 63 in increments of 
1/64 of a semitone (approx. 1.56 cents). For each preset, the specific 
tuning table is selected in the Edit menu. 



USER KEY TUNING 
Key: CI 036.00 



Proteus operation manual 



User Key Tuning 



23 



MASTER MENU 



Proteus Keyboard Range 



MIDI 
Key# | 



12 

I 



24 

I 



36 

I 



48 

I 



60 

I 



72 

I 



84 

I 



96 

I 



108 120 127 

I I I 




Key 
Name 



I I 

C-2 C-1 



I I 

CO C1 



I I I I 

C2 C3 C4 C5 



I I 

C6 C7 



C8 



[ | = Standard 5 Octave Keyboard Range 



VIEWING ANGLE 

This function allows you to change the viewing angle of the display so that 
it may be easily read from either above or below. The angle is adjustable 
from +7 to -8. Positive values will make the display easier to read when 
viewed from above. Negative values make the display easier to read from 
below. 



VIEWING ANGLE 
+7 



DEMO SEQUENCE 

Proteus contains a play-only sequencer in order to give you an idea of 
what is possible using this amazing machine. Press the cursor switch to 
move the cursor to the bottom line of the display. The Enter LED will 
begin flashing. Press the Enter switch to start the sequence. The Enter 
LED will be lit and the bottom line of the display will change to "Stop". 
Pressing the Enter button again will stop the sequence. 



DEMO SEQUENCE 
Start Sequence 



24 



About Proteus 



Proteus operation manual 



about PROTEUS 



Proteus, unlike most synthesizers, utilizes digital recordings of real 
instruments for the basis of its sound. This is similar to a tape recorder 
except that in the Proteus, the sounds are permanently recorded on 
digital memory chips. 

To perform this modern miracle, sounds and instrument waveforms are 
first sampled into the Emulator III, our top of the line, 16 bit stereo digital 
sampler. After the sounds and waveforms have been truncated, looped 
and processed, they are "masked" into the Proteus ROM (Read Only 
Memory) chips. 

Conceptually, the sampling process is very simple, as shown in the Basic 
Sampling System diagram. As a sound wave strikes the diaphragm of a 
microphone, a corresponding voltage is generated. To sample the sound, 
the voltage level is repeatedly measured at a very high rate and the 
voltage measurements are stored in memory. To play the sound back, the 
numbers are read back out of memory, converted back into voltages, then 
amplified and fed to a speaker which converts the voltage back into sound 
waves. Of course, playing back 32 channels at different pitches tends to 
complicate matters, but this is basically how it works. In Proteus, we have 
left out the Analog/Digital converter stage since the sounds are already 
sampled for you. 



Basic Sampling System 




Analog/Digital Memory 
Converter 



Digital/Analog 
Converter 



Amplifier 



'V\y-H 011001 1 



10100101001 
01010010100 
10101010100 
10101001010 





-3V 



1V 3V -2V -1V 3V -1V -2V 



Proteus operation manual Programming Basics 25 



PROGRAMMING BASICS 



26 Proteus operation manual 



Proteus operation manual 



General Information 



27 



PROGRAMMING BASICS 



Your initial involvement with the Proteus will most likely consist of using 
the existing presets and selecting MIDI channels. While the factory 
presets are very good, there are probably some things you would like to 
change, perhaps the LFO speed, or the attack time. You may also want to 
make your own custom presets using complex modulation routings. 
Entirely new sounds can be created by combining the attack portion of 
one sound with the body of another sound or by combining the digital 
waveforms with sampled sounds. There are 64 user locations (64-127) 
available to store your own creations or edited factory presets. Best of all, 
it's easy to edit or create new presets using the edit menu. 

Presets can be made up of both a primary and secondary instrument. 
Presets can also be "linked" with up to 3 additional presets to create 
layering or splits. 

One way to create a keyboard split is assign an instrument to a specific 
range and then link it to other presets which fill in the empty keys. Using 
a combination of 4 linked presets and the primary and secondary instru- 
ment ranges, up to 8 keyboard splits can be produced. If linked presets 
overlap on the same keyboard range, the presets will be doubled or 
stacked. 

LINK 




CREATING A SPLIT KEYBOARD 



Key Range 




LAYERING TWO PRESETS 

These diagrams show how keyboard splits and layers can be created by linking presets. 
Remember that each preset can consist of both a primary and secondary instrument. 



28 



Modulation 



Proteus operation manual 



PROGRAMMING BASICS 



Proteus has an extensive modulation implementation using two multi- 
wave LFO's (Low Frequency Oscillators), two envelope generators and 
the ability to respond to multiple MIDI controllers. You can simultane- 
ously route any combination of these control sources to multiple destina- 
tions. 



MODULATION 

Modulation means to dynamically change a parameter, whether it be the 
volume (amplitude modulation), the pitch (frequency modulation), or 
whatever. Turning the volume control on your home stereo rapidly back 
and forth would be an example of amplitude modulation. To modulate 
something we need a modulation source and a modulation destination. 
The source is your hand turning the knob, and the destination is the 
volume control. If we had a device that would automatically turn the 
volume control, we would also call that device a modulation source. The 
Proteus is designed so that for each of the variable parameters, such as the 
volume, there is an initial setting which can be changed by a modulation 
source. Therefore in the case of volume, we have an initial volume and we 
can change or modulate that volume with a modulation source. Two 
main types of modulation sources on the Proteus are Envelope Generators 
and Low Frequency Oscillators. In the example above, an envelope genera- 
tor could be routed to automatically turn the volume control as pro- 
grammed by the envelope. Or, a low frequency oscillator could be routed 
to automatically turn the volume control up and down in a repeating 
fashion. 




Turning the volume control back and forth on your home stereo is an example of Amplitude Modulation. 



Proteus operation manual 



Modulation Sources 



29 



PROGRAMMING BASICS 



MODULATION SOURCES 

The Proteus uses three kinds of modulation sources. 



■ KEYBOARD and VELOCITY MODULATION 

Values which are generated at the start of a note and do not change during 
the note. 

Keyboard Key - Which key is pressed. 

Key Velocity - How hard the key is pressed. 

■ REALTIME MODULATION 

Values which can be continuously changed during the entire duration of 
the sound. 

Pitch Wheel - A synthesizer pitch bend wheel. 

Miscellaneous Controllers (4) - Any type of MIDI controller data. 

Keyboard Pressure (mono aftertouch)- Key pressure applied after the 
key is initially pressed. 

Polyphonic Key Pressure - Pressure from a controller capable of 
generating polyphonic pressure data. 

Low Frequency Oscillators (2) - Generate repeating waves. 

Envelope Generators (2) - Generate a programmable "contour" which 
changes over time when a key is pressed. 



■ FOOTSWITCH MODULATION 

Changes a parameter when one of the three f ootswitches are pressed. The 
footswitches can be programmed to switch: Sustain (pri/ sec /both), 
Alternate Volume Envelope (pri/sec/both), Alternate Volume Release 
(pri /sec /both), or Cross-Switch between the primary and secondary 
instruments. 



30 



Envelope Generators 



Proteus operation manual 



PROGRAMMING BASICS 




Percussion 



Organ 




String 




Plucked 



■ The generalized 
envelope shapes 
of a few types of 
sounds are shown 
above. 



ENVELOPE GENERA TORS 

An envelope can be described as a "contour" which can be used to shape 
the sound in some way over time. Each channel of the Proteus contains 
two envelope generators. One of the envelope generators, the Alternate 
Volume Envelope, controls the volume of the primary or secondary 
instrument and has 5 stages, Attack, Hold, Decay, Sustain, and Release. 
The other envelope, the Auxiliary Envelope, canbe routed to any realtime 
control destination and is a general purpose envelope. The Auxiliary 
Envelope has 6 stages: Delay, Attack, Hold, Decay, Sustain, and Release. 
The Envelope parameters can be described as follows: 

■ Delay - The time between when a key is played and when the attack 
phase begins. 

■ Attack - The time it takes to go from zero to the peak (full) level. 

■ Hold - The time the envelope will stay at the peak level before starting 
the decay phase. 

■ Decay - The time it takes the envelope to go from the peak level to the 
sustain level. 

■ Sustain - The level at which the envelope remains as long as a key is 
held down. 

■ Release - The time it takes the envelope to fall to the zero level after the 
key is released. 









/ 




X 








t 

level 


t 

S 

i 


\ 


time- 
























<^D^ 


<— A — ► 


<^H^ 


<^D — ► 






<— R — ► 






T 










T 




k< 
d 


jy 

own 










k( 


^y 

(leased 





Proteus operation manual 



AHDSRS and LFOs 



31 



PROGRAMMING BASICS 




time 
A 



H 



t 



key 
down 



key 
released 



If the key is released during the Hold (H) phase, the Release (R) phase begins. 



LOW FREQUENCY OSCILLATORS (LFOs) 

A Low Frequency Oscillator is simply a wave which repeats at a slow rate. 
The Proteus has two multi-wave LFOs for each of its 32 channels. The LFO 
waveforms are: Triangle, Sine, Square, Sawtooth, and Random, which is 
a random "sample and hold" type of wave. 

By examining the diagram of the LFO waveforms, you can see how the 
LFO will affect a modulation destination. Suppose we are modulating the 
pitch of an instrument. The sine wave looks smooth, and will smoothly 
change the pitch. The square wave changes abruptly, and will abruptly 
change the pitch from one pitch to another. The sawtooth wave smoothly 
decreases, then abruptly changes back up. The sound's pitch will follow 
the same course. Controlling the pitch of an instrument is an easy way to 
hear the effects of the LFO waves. 



Triangle 



Sine 



Square 




Sawtooth 



Random 




32 Modulation "Patching" 



Proteus operation manual 



PROGRAMMING BASICS 



When the amount of an LFO is a negative value, the LFO shape will be 
inverted. For example, inverting the sawtooth wave produces a wave that 
smoothly increases, then instantly resets down. 



Negative Amount 




Sawtooth 



Inverted Sawtooth 



MIDI PATCH 

Connecting a modulation source to a destination is called a patch. 
Proteus lets you connect the modulation sources in almost any possible 
way to the modulation destinations. You can even modulate other 
modulators. Each patch also has an amount parameter which determines 
"how much" modulation is applied to the destination. The modulation 
amount can be positive or negative and will either add or subtract from 
the initial value. Keyboard and velocity sources can be simultaneously 
patched to any 6 of the 33 destinations for each preset. Realtime modula- 
tion sources can be simultaneously patched to any 8 of the 24 destinations 
for each preset. 



Modulation 
Source 



Amount +/- 



Destination 




Sources 



Destinations 



LF0 1 

LFO 2 

Aux Env 

Wheel 

Pressure 

MIDI 

etc. 



Pitch 

X-Fade 

Level 

LFO Amt. 

LFO Rate 

Attack 

etc. 



Proteus operation manual 



Modulation Chart 



33 



PROGRAMMING BASICS 



Primary 
Instrument 

Sample 
Pitch Start 




Tone 

A 

! 


w 


W 





-►(Pan 



> L 



Volume 
AHDSR 

Atk Dec Rel 



Level \ 



Secondary 
Instrument 

Sample 
Pitch Start 



i r 



J "\ 



Tone 




LF0 1 

Amount Freq. 



LF0 2 

Amount Freq. 




->(Pan 



Volume 
AHDSR 

Atk Dec Rel 



t t t 



Level 



Auxiliary 
DAHDSR 

Atk Dec Rel Amt 



r i 



i r 



t t t t 



KEYBOARD 
CENTER 



VELOCITY 
CURVE 





Keyboard and Velocity Modulation Sources 

KEYBOARD and VELOCITY MODULATION 

The Keyboard and Velocity Modulation diagram shows the possible 
routing of Key Number (which key is pressed), and Velocity (how hard 
the key is pressed). These modulation sources can control any of the 
destinations indicated by the small arrows. A modulation source can 
control up to six destinations or one destination can be controlled by up 
to six modulation sources. The possible modulation routings are com- 
pletely flexible as shown in the example above. 



Modulation Sources: 

Key Number and Key 
Velocity 



Destinations: Off, 
Pitch, Primary Pitch, 
Secondary Pitch, 
Volume, 

Primary Volume, 
Secondary Volume, 
Attack, 

Primary Attack, 
Secondary Attack, 
Decay, 

Primary Decay, 
Secondary Decay, 
Release, 
Primary Release, 
Secondary Release, 
Crossfade, LFO 1 
Amount, LFO 1 Rate, 
LFO 2 Amount, 
LFO 2 Rate, Auxiliary 
Envelope Amount, 
Auxiliary Envelope 
Attack, Auxiliary 
Envelope Decay, 
Auxiliary Envelope 
Release, Sample 
Start, Primary Sample 
Start, Secondary 
Sample Start, Pan, 
Primary Pan, 
Secondary Pan, Tone, 
Primary Tone, 
Secondary Tone 



34 



Key Number 



Proteus operation manual 



PROGRAMMING BASICS 



KEYNUMBER 

The Key Number is affected by the Keyboard Center parameter which 
can be set to any key from A-l to C7. The keyboard center establishes a 
reference point for keyboard modulation; keys above this point will have 
a positive value, while keys below it will be negative. For example, if we 
wished to change the volume of an instrument using key number and the 
key center were set to middle C, the instrument would get progressively 
louder above middle C and progressively softer below middle C. 



KEY CENTER 

- : + 
< ! — ► 






VELOCITY CURVES 

Incoming velocity values can be scaled by one of the four velocity curves 
in order to match your playing style or better adapt to the MIDI controller. 
Experiment with the four curves to find the one that works best for your 
style and MIDI controller. 



Curve 1 



Curve 3 




Curve 2 




10 20 30 40 50 60 70 B0 90 100 



Curve 4 



10 20 30 40 50 60 70 80 90 100 




10 20 30 40 50 60 70 60 90 10( 



Proteus operation manual 



Realtime Modulation 



35 



PROGRAMMING BASICS 



Primary 
Instrument 



Pitch 



; 




► R 



>■ L 



Level 



Secondary 
Instrument 



Pitch 




► R 



>- L 



Level 



LF01 

Amount Freq. 



LF0 2 

Amount Freq. 



Auxiliary 
Envelope 
(DAHDSR) 

Atk Dec Rel Amt 



t t t t 



PITCH WHEEL 



MONO 
PRESSURE 



POLY 
PRESSURE 



MIDI 

CONTROLLER 

A/B/C/D 



LF0 1 



LF0 2 



AUXILIARY 
ENVELOPE 



Realtime Modulation Sources 



REALTIME MODULA TION 

In addition to keyboard and velocity modulation, Proteus has multiple 
realtime modulation sources. Realtime modulation sources are parame- 
ters which vary over time. The velocity and keyboard modulations, in 
comparison, are set at the key depression. The realtime modulation 
sources can control any of the destinations except Sample Start, Tone and 
Pan as indicated by the small arrows. A modulation source can control up 
to eight destinations or one destination can be controlled by up to eight 
modulation sources. The possible modulation routings are completely 
flexible as shown in the example above. 



Modulation Sources: 

Pitch Wheel, 
MIDI Control A, 
MIDI Control B, 
MIDI Control C, 
MIDI Control D, 
Mono Pressure, 
Polyphonic Pressure, 
LF0 1, LF0 2, 
Auxiliary Envelope 



Destinations: Off, 
Pitch, Primary Pitch, 
Secondary Pitch, 
Volume, 

Primary Volume, 
Secondary Volume, 
Attack, 

Primary Attack, 
Secondary Attack, 
Decay, 

Primary Decay, 
Secondary Decay, 
Release, 
Primary Release, 
Secondary Release, 
Crossfade, LFO 1 
Amount, LFO 1 Rate, 
LFO 2 Amount, 
LFO 2 Rate, Auxiliary 
Envelope Amount, 
Auxiliary Envelope 
Attack, Auxiliary 
Envelope Decay, 
Auxiliary Envelope 
Release 



36 



MIDI Realtime Controllers 



Proteus operation manual 



PROGRAMMING BASICS 



MIDI wind controllers 
may work better if you 
assign one of the MIDI 
A, B, C, D controllers to 
control volume. This will 
allow the MIDI volume 
to be added to the 
current volume. 



MIDI REALTIME CONTROLS 

The MIDI realtime controllers may seem confusing at first, but they are 
really very simple to understand. You probably already know that there 
are 16 MIDI channels that can be used. Each of the 16 MIDI channels uses 
basically 3 types of messages; note on/off, program changes, and continuous 
controller messages.Your MIDI keyboard, in addition to telling Proteus 
which note was played, may also send realtime control information, which 
simply means occuring in real time or live. (You may be using a MIDI 
device other than a keyboard, but for simplicity's sake we'll presume that 
you're using a keyboard.) Realtime control sources include such things as 
pitch wheels or levers, modulation wheels or levers, control pedals, 
aftertouch, etc. and are used to add more expression or control. Your 
MIDI keyboard sends out realtime controller information on separate 
channels called continuous controller channels. There is a set of 32 continu- 
ous controller channels for each of the 16 MIDI channels. Some of the 
controller channels, such as pitch wheel, volume, and pan have been 
standardized. For example, volume is usually sent on continuous control- 
ler channel #7. 



MIDI 
Channel 1 



Note 
On/Off 



Program 
Change 



Continuous 
Controllers 



MIDI 
Channel 2 



Note 
On/Off 



Program 
Change 



Continuous 
Controllers 



MIDI 
Channel 3 



Note 
On/Off 



Program 
Change 



Continuous 
Controllers 



• • • 



MIDI 
Channel 16 



Note 
On/Off 



Program 
Change 



Continuous 
Controllers 



Common realtime controllers such as the pitch wheel, volume, pan and 
pressure are pre-programmed to their proper destinations. Your key- 
board may have other realtime controls such as a control pedal or data 
slider which can also be programmed to control most of the parameters 
on Proteus. 

The Proteus is equipped with a sophisticated MidiPatch™ system, which 
allows you to route any continuous controller to any realtime modulation 
destination. The MidiPatch system is also very easy to use. First, you 
must know which controller numbers your keyboard can transmit. 



Proteus operation manual 



MIDI Realtime Controllers 



37 



PROGRAMMING BASICS 



Let's say for instance, that you are using a Yamaha DX7 as your master 
keyboard. The DX has pitch and mod. wheels, a breath controller, a data 
slider and a foot pedal, all of which transmit their values over MIDI. The 
standard MIDI controller numbers for the controls are listed below (the 
pitch wheel has a dedicated controller, PWH). First, we would go to the 
Master menu, MIDI Controller Assign and define the 4 MIDI controllers 
that we wish to use. Assign each controller number to one of the letters 
A-B-C-D. 

01 - Modulation Wheel A 

02 - Breath Controller B 
04 - Foot Pedal C 
06 - Data Entry D 

To complete the connections for a particular preset, go to the Edit menu, 
Realtime Control, and route the MIDI A, B, C, D to the desired destina- 
tions. These could be patched to any 4 destinations or even to the same 
destination. The MIDI Controller Amount menu, (in the Edit menu) 
allows you to scale the amounts of each of the controllers by a positive or 
negative value. The signal flow is shown in the diagram below. 



Edit 
Menu 




Control Destinations 

Pitch 

Primary Pitch only 

Secondary Pitch only 

Volume 

Primary Volume only 

Secondary Volume only 

Attack 

Primary Attack only 

Secondary Attack only 

Decay 

Primary Decay only 

Secondary Decay only 

Release 

Primary Release only 

Secondary Release only 

Crossfade 

LFO 1 Rate 

LFO 1 Amount 

LFO 2 Rate 

LFO 2 Amount 

Auxiliary Envelope Amount 

Auxiliary Envelope Attack 

Auxiliary Envelope Decay 

Auxiliary Envelope Release 



The MIDI controllers A-B-C-D must have both a source (0-31), and a control destination assigned. 



Standard MIDI 
Controller Numbers: 

1- Modulation Wheel 

2- Breath Controller 

3- Pressure Rev 1 DX7 

4- Foot Pedal 

5- Portamento Time 

6- Data Entry 

7- Volume 

8- Balance 

9- Undefined 
10- Pan 



38 



Stereo Mix Outputs 



Proteus operation manual 



PROGRAMMING BASICS 



STEREO MIX OUTPUTS 

Proteus has three sets of polyphonic stereo outputs (Main, Sub 1, Sub 2). 
The channels used by a particular preset may be directed to appear at any 
one of these three stereo outputs. This feature is useful for signal process- 
ing (EQ, reverb, etc.) of individual sounds prior to final mixdown. 
By panning a preset completely left or right, it can be routed to a single 
output jack. 

Note: All presets will be automatically routed to the Main outputs unless 
plugs are inserted into the Sub 1 or Sub 2 outputs. 



Preset 
01 



Preset 
22 



Preset 
12 



Preset 
127 



Preset 
18 



Preset 
120 





MIX 
OUTPUT 


— ► 
— > 

— ► 
— >- 

-► 

->- 
— > 


^ 



Main 



Sub1 



Sub 2 



etc. 



Each preset can be routed to one (and only one) set of stereo outputs. 



Proteus operation manual Edit Menu 39 



EDIT MENU 



40 Proteus operation manual 



Proteus operation manual 



Proteus Programming 4 1 



EDIT MENU 



The edit menu contains functions that can be modified by the user and 
then saved as preset information in one of the user presets. For example, 
the LFO speed or other parameter can be edited, then the preset can be 
saved to a user location (64-127 on standard Proteus, 0-255 on Proteus 
XR). 

While the Edit menu is activated, incoming MIDI preset changes are ignored. 
This is a quick and easy way to temporarily turn MIDI Preset Change OFF. 



WARNING : Changes made in the Edit menu will be forever lost unless the 
preset is "saved " using the Save Preset function (page 60) before changing 
the preset. 



To enable the Edit menu: Press the Edit key, lighting the LED. The 
current screen will be the one most recently selected since powering up 
the machine. The cursor will appear underneath the first character of the 
screen heading on line one. 



To select a new screen : Press the parameter key repeatedly (or hold the 
parameter key while turning the data entry control) until the cursor is 
underneath the screen heading. Rotate the data entry control to select the 
screen. 



To modify a parameter: Press the parameter key repeatedly (or hold the 
parameter key while turning the data entry control) until the cursor is 
underneath the screen heading. Rotate the data entry control to change 
the value. 



To return to Preset Select mode: Press the Edit button, turning off the 
LED. 



42 



Edit Menu Functions 



Proteus operation manual 



EDITMENU 



EDITMENU FUNCTIONS 

PRESET NAME 

Preset Name allows you to name each of the user presets with a name of 
up to 12 characters. Position the cursor under the character location and 
use the data entry control to change the character. The keyboard can also 
be used to select characters. The charts below show the keyboard 
character assignment. 



PRESET NAME 
000 Untitled 



% 16 



B IN UZ a f mr y -> 



r T IT II T T T IT T 



b i 


& i 


+ i 


i 


5 




? i 


D i 


J i 


oi 


T : 


Y i 


A J 


c 


h 


n i 


s i 


X i 


i i 


I " 


1 


. 


2 


7 


< 




A 


F 


K 


P 


V 


[ 






e 


I 





t 


z 


< 


a i 


i ) 


3 t 


i > 


C H |M R W ¥ t 


) 


9 


q v { 


k 


C-1 




C 







c 


1 




C2 




C 


3 




C 


4 




C5 




I 
C6 





C 


C# 


D 


D# 


E 


F 


F# 


G 


G# 


A 


A# 


B 


-2 












blank 


! 


ii 


# 


$ 


% 


& 


-1 


i 


( 


) 


* 


+ 


i 


- 




/ 





1 


2 





3 


4 


5 


6 


7 


8 


9 




; 


< 


= 


> 


1 


? 


@ 


A 


B 


C 


D 


E 


F 


G 


H 


I 


J 


2 


K 


L 


M 


N 





P 


Q 


R 


S 


T 


U 


V 


3 


W 


X 


Y 


Z 


[ 


¥ 


] 


A 







a 


b 


4 


c 


d 


e 


f 


9 


h 


i 


j 


k 


1 


m 


n 


5 





P 


q 


r 


s 


t 


u 


V 


w 


X 


y 


z 


6 


{ 


1 


} 


-► 


<- 

















Pitch 



Octave 
No. 



Proteus operation manual 



Mix Output 43 



EDITMENU 



MIX OUTPUT 

This function allows you to direct the channels used by a particular preset 
to appear at one of these three stereo outputs (Main, Sub 1, Sub 2). 



MIX OUTPUT 
Main 



PRIMARY INSTRUMENT 

This function allows you to select which of the available instrument 
sounds (or none) will be placed on the primary layer of the current user 
preset. 



INSTRUMENT pri 
1002 Piano Pad 



SECONDARY INSTRUMENT 

This function allows you to select which of the available instrument 
sounds (or none) will be placed on the secondary layer of the current user 
preset. 



INSTRUMENT sec 
1001 Piano 



KEY RANGE 

Key range sets the keyboard range of both primary and secondary 
instruments. This sets the keyboard range for the entire preset and will 
further limit the primary and secondary keyboard ranges. The key range 
can be set anywhere from C-2 to G8. 



KEY RANGE 
C-2 -> G8 



Simply changing the 
instrument creates a 
new sound while 
retaining all other 
parameters of the 
preset. 



44 Key Range 



Proteus operation manual 



EDITMENU 



PRIMARY KEY RANGE 

Key range sets the keyboard range of the primary instrument. This is 
useful for creating positional crossf ades and keyboard splits between the 
primary and secondary layers. The key range can be set anywhere from 
C-2toG8. 



KEY RANGE pri 
C-2 -> G8 



Primary Instrument 

Key Range 



Secondary Instrument 

Key Range 




This diagram shows how a "split" keyboard can be programmed using the primary 
and secondary instruments. 



Key Range 




Pri Instr. 



Sec Instr. 



This diagram shows how instruments can be layered or "stacked" using the primary 
and secondary instruments. 



Proteus operation manual 



Key Range 45 



EDITMENU 



Proteus Keyboard Range 



MIDI „ 

12 24 

Key# | | | 



36 

I 



48 

I 



60 

I 



72 

I 



84 

I 



96 

I 



108 120 127 

I I I 




Key ' ' 

' y C-2 C-1 

Name 



CO 



C1 



C2 



C3 



C4 



C5 



C6 



C7 



C8 



| | = Standard 5 Octave Keyboard Range 



SECONDARY KEY RANGE 

Key range sets the keyboard range of the secondary instrument. The key 
range can be set anywhere from C-2 to G8. 



KEY RANGE sec 
C-2 -> G8 



VOLUME 

Volume sets the amplitude of the primary and secondary instruments. 
This function also allows you to compensate for the relative volume 
differences between instruments. 



VOLUME 

pri:127 sec:64 



PAN 

Pan allows you to independently set the initial pan position of the primary 
and secondary instruments. A value of -7 pans the instrument hard left 
and a value of +7 pans the instrument hard right. This pan setting is only 
valid if "P", for preset pan, is selected in the main display. 



PAN 

pri:-7 sec:+7 



46 



Coarse Tuning 



Proteus operation manual 



EDITMENU 



COARSE TUNING 

This function allows you to change the tuning of the primary and 
secondary instruments in semitone intervals. The coarse tuning range is 
-36 to +36 semitones. A coarse tuning setting of "00" would indicate that 
the instrument is tuned to concert pitch (A=440 Hz). 



TUNING coarse 
pri:+00 sec: +00 



FINE TUNING 

This function allows you to change the tuning of the primary and 
secondary instruments in 1/64 semitone intervals (approx. 1.56 cents). 
The fine tuning range is ± 1 semitone. 



TUNING fine 
pri:+00 sec: +00 



CHORUS 

Chorus "thickens" the sound by doubling the sound and then detuning 
it. Proteus/ 1 chorus canbe only be turned On or Off. Proteus/2 and above 
allow you select the chorus amount from a range of 1 to 15. When Chorus 
is on, the number of channels used by an instrument will be doubled. 



Proteus/1 



Proteus/2 and above 



CHORUS 

pri:0n sec:0ff 



CHORUS 

pri:0ff sec:07 



DELAY 

Delay varies the time between when a MIDI Note On message is received 
and the onset of a note. The delay time is adjustable from to 13 seconds 
(000-127). 



DELAY 
pri :000 



sec: 000 



Proteus operation manual 



Solo Mode 



47 



EDITMENU 



SOLO MODE 

Solo mode provides the playing action of a monophonic instrument with 
single triggering and last-note priority. This mode does not allow you to 
play a chord. Solo mode will not retrigger the envelope generators if a 
new note is played while another is being held. This allows a legato 
playing technique to be used. Solo mode also provides more realistic 
effects when working with guitar and wind controllers. 



SOLO MODE 
pri:0ff sec:0n 



SOUND START 

This function allows you to set where a sample begins playing when you 
hit a key. A setting of 000 plays a sound from the beginning, higher values 
move the sample start point toward the end of the sound. 



SOUND START 
pri:000 sec: 000 



REVERSE SOUND 

When reverse sound is turned On, the instrument will be played back- 
wards. When an instrument is reversed, any loops in the sound will be 
ignored, which means that the sound will not sustain indefinitely. 



REVERSE SOUND 
pri:0ff sec:0n 



48 Alternate Envelope 



Proteus operation manual 



EDITMENU 




Normal 
Envelope 

Atk Dec Rel 



Alternate 
Envelope 

Atk Dec Rel 



t t t 



t t t 



ALTERNATE ENVELOPE ON/OFF 

Each instrument has its own factory preset AHDSR volume envelope 
which is normally employed. If a programmable volume envelope is 
desired, the alternate envelope is used. 



ALT ENVELOPE 
pri:0ff sec:0n 



PRIMARY ALTERNATE ENVELOPE PARAMETERS 

This function allows you to adjust the alternate volume envelope parame- 
ters for the primary instrument. The parameters are Attack time, Hold 
time, Decay time, Sustain level, Release time and are adjustable from 00 
to 99. 



p 


A 


H 


D 


S 


R 




00 


00 


00 


99 


16 



SECONDARY ALTERNATE ENVELOPE PARAMETERS 

This function allows you to adjust the alternate volume envelope parame- 
ters for the secondary instrument. The parameters are Attack time, Hold 
time, Decay time, Sustain level, Release time and are adjustable from 00 
to 99. 



s 


A 


H 


D 


S 


R 




00 


00 


00 


99 


16 



Proteus operation manual 



Crossfade Mode 



49 



EDITMENU 



CROSSFADE MODE 

This function determines which of the following crossfade modes will be 
selected: Off, Crossfade, or Cross-Switch. 

Off: When "off" is selected, none of the crossfade parameters will have 
any effect. 

Crossfade: When "crossfade" is selected, a control input is used to fade 
between the primary and secondary. Any modulation source may be 
used as an input (velocity, wheel, etc.) 

Cross-switch: When "cross-switch" mode is selected, the switched layer 
is selected if the input crosses a certain threshold or if a footswitch 
controlling cross-switch is activated. The switch occurs only at the start of 
the note; no further switching takes place while the key is held down. 
If key position or velocity is routed to cross-switch, the threshold is the 
switch point. Realtime controllers do not have any effect when routed to 
cross-switch. For more information, see Cross-Switch Point on page 51. 



XFADE MODE 
Off 



Primary 
Instrument 

Key Range 



Secondary 
Instrument 

Key Range 




Crossfade Range 



By overlapping the primary and secondary instruments, you can crossfade or cross-switch 
between the two layers. 



50 



Crossfade Direction 



Proteus operation manual 



EDITMENU 



■ A Crossfade Balance 
setting of 000 would be 

appropriate with a 

source such as a 

modulation wheel or 

footpedal which only 

change the value in a 

positive direction. 



CROSSFADE DIRECTION 

This function determines the polarity of the crossfade or cross-switch. 
The direction is either primary —Secondary, or secondary —primary. 



XFADE DIRECTION 
Pri -> Sec 



CROSSFADE BALANCE 

The crossfade balance parameter determines the initial balance between 
the primary and secondary layers. Any modulation is subsequently 
added to this value. Crossfade balance is variable between 000 and 127. 

















XFADE 


BALANCE 








064 








PRIMARY 
AMOUNT 

t 




SECONDARY 
AMOUNT 

t 






CROSSFADE 






Primary 
Only 


CROSSFADE 

BALANCE 

32 

I 

Equal 
Amount 


Secondary 
Only 




INPUT "^ 

Velocity, 

Mod. Wheel, 

Footpedal, 

etc. 







^^^^^^™ 




t 


) 1 


2 


32 5 

;rossfade 

AMOUNT 
40 


2 


64 96 12 


8 



















Crossfading between Primary and Secondary instruments will occur between the values of 12 
and 52. Above and below these points, the output will be completely Primary or Secondary. 



Proteus operation manual 



Crossfade Amount 



51 



EDITMENU 



CROSSFADE AMOUNT 

The crossfade amount parameter determines the range over which 
crossf ading will occur. Crossfade amount is variable from 000 to 255. The 
larger the value, the more modulation will be required to effect a complete 
crossfade. 



XFADE AMOUNT 
128 



CROSS-SWITCH POINT 

The cross-switch point parameter determines the point at which cross- 
switching will occur when key position or velocity is controlling cross- 
switch. 



Velocity 



SWITCH POINT 
064 c#2- 



Key 



LFO 1 - SHAPE and AMOUNT 

This screen controls the waveshape and amount of Low Frequency 
Oscillator 1. The LFO can be used to produce vibrato (when routed to 
pitch), or tremolo (when routed to volume). The five LFO waveshapes 
are: Triangle, Sine, Square, Sawtooth, and Random. The amount can be 
varied from -128 to +127. Negative values will produce inverted wave- 
shapes. 



LF01 SHAPE AMT 
Rand + 



27 



Triangle 



Sine 



Square 




Sawtooth 



Random 




52 



LFO 1 



Proteus operation manual 



EDITMENU 



LFO 1 - RATE, DELAY and VARIATION 

This screen controls the rate, delay and variation of LFO 1. 

■ LFO Rate: varies the LFO speed from 0.052 Hz to 25 Hz (000-127). 

■ LFO Delay: sets the amount of time between hitting a key and the onset 
of modulation. This can be used to simulate an effect often used by 
acoustic instrument players, where the vibrato is brought in only after the 
initial note pitch has been established. The delay range is variable from 
to 13 seconds (000-127). 




key 
down 



The LFO wave begins after the specified delay time has elapsed. 



■ LFO Variation: sets the amount of random variation of an LFO each 
time a key is pressed. This function is useful for ensemble effects, where 
each note played has a slightly different modulation rate. The higher the 
number, the greater the note to note variation in LFO rate. LFO variation 
is variable from 000-127. 



LF01 RT DLY VAR 
000 000 



000 



LFO 2 - SHAPE and AMOUNT 

LFO 2 is functionally identical to LFO 1. 



LFO 2 - RATE, DELAY and VARIATION 

LFO 2 is functionally identical to LFO 1. 



Proteus operation manual 



Auxiliary Envelope 



53 



EDITMENU 



AUXILIARY ENVELOPE 

This is a supplementary, utility envelope that can be routed to any 
realtime control destination. The auxiliary envelope parameters are: 
Envelope Amount, Delay, Attack Time, Hold Time, Decay Time, Sustain 
Level, and Release Time. The delay time is variable from to 13 seconds 
(000-127). The envelope amount is variable from -128 to +127. Negative 
values will produce inverted envelopes. 



AUX ENV AMT DLY 
+ 127 



)00 



A H D S 
00 00 00 ' 



R 
B 20 











\ 






T 


f 

Sustain 


\ 


level 










1 


\ 


time — > 
















^D J^_ 


A — ► 


<^ H ^- 


„ D > 




< R J 




e 

1 


t 
t 


o 
1 


e 
c 




e 
1 




a 


a 


d 


a 




e 




y 


c 




y 




a 


' 


< 

key 
down 


k 






key 
released 


k s 



This diagram shows the six stages of the Auxiliary Envelope Generator. 



54 



KYBD/ Velocity. Modulation 



Proteus operation manual 



EDITMENU 



Modulation Sources: 

Key Number and Key 
Velocity 



Destinations: Off, 
Pitch, Primary Pitch, 
Secondary Pitch, 
Volume, Primary 
Volume, Secondary 
Volume, Attack, 
Primary Attack, 
Secondary Attack, 
Decay, Primary 
Decay, Secondary 
Decay, Release, 
Primary Release, 
Secondary Release, 
Crossfade, LFO 1 
Amount, LFO 1 Rate, 
LFO 2 Amount, LFO 2 
Rate, Auxiliary 
Envelope Amount, 
Auxiliary Envelope 
Attack, Auxiliary 
Envelope Decay, 
Auxiliary Envelope 
Release, Sample 
Start, Primary Sample 
Start, Secondary 
Sample Start, Pan, 
Primary Pan, 
Secondary Pan, Tone, 
Primary Tone, 
Secondary Tone 



When Modulating 
Envelope Attack, 
Decay, or Release 
Times: 

Positive amounts of 
modulation increase 
the time. 

Negative amounts of 
modulation decrease 
the time. 



KEYBOARD and VELOCITY MODULATION CONTROL 

These functions allow you to route keyboard and velocity information to 
any of the modulation destinations on the Proteus. Up to 6 simultaneous 
paths or "patches" may be programmed. For each modulation patch, 
there is a source (keyboard or velocity), and a corresponding amount 
parameter which is variable from -128 to +127. Place the cursor under the 
appropriate parameter and change the patch number, modulation 
source, modulation destination, or the amount using the data entry 
control. If a parameter is not labeled either primary or secondary, it 
affects both. 



KEY/VELOCITY CTL 
1 V>Attack-064 

A AA z 



A A A 



Patch 
Number 



Modulation 
Destination 



Modulation 
Source 



Modulation 
Amount 



LF01 

Amount Freq. 


t i 


LFO 2 

Amount Freq. 



Primary 
Instrument 



t ! 



Auxiliary 
DAHDSR 

Atk Dec Rel Amt 



till 




>R 



>*L 



► Ft 



>-L 



f t t 



Modulation Destinations 



KEYBOARD 
CENTER 



VELOCITY 
CURVE 



KEY NUMBER 



VELOCITY 



Keyboard and Velocity Modulation Sources 



Proteus operation manual 



Realtime Modulation 



55 



EDITMENU 



REALTIME MODULATION CONTROL 

These functions allow you to route realtime controllers to any of the 
modulation destinations on Proteus except Tone, Sample Start and Pan. 
Up to 8 simultaneous patches may be programmed. For each modulation 
patch, there is a source and a destination parameter. Place the cursor 
under the appropriate parameter and change the patch number, modu- 
lation source or modulation destination using the data entry control. If 
a parameter is not labeled either primary or secondary, it affects both. 



REALTIME CTL 
1 LF01 ->Pitch 

ik 



f 



Patch 
Number 



t 



Modulation 
Destination 



Modulation 
Source 



LF0 1 

Amount Freq. 



LF0 2 

Amount Freq. 



Auxiliary 
DAHDSR 

Atk Dec Rel Amt 




Volume 
AHDSR 
Level Atk Dec Rel 



t i f 



t i t t 



Modulation Destinations 



t 




♦ 




t 




* 




* 




t 




t 


PITCH WHEEL 




MONO 
PRESSURE 




POLY 
PRESSURE 




MIDI 

CONTROLLER 

A/B/C/D 




LF0 1 




LF0 2 




AUXILIARY 
ENVELOPE 



Realtime Modulation Sources 



Modulation Sources: 

Pitch Wheel, MIDI 
Control A, MIDI 
Control B, MIDI 
Control C, MIDI 
Control D, Mono 
Pressure, Polyphonic 
Pressure, LFO 1, LFO 
2, Auxiliary Envelope 



Destinations: Off, 
Pitch, Primary Pitch, 
Secondary Pitch, 
Volume, Primary 
Volume, Secondary 
Volume, Attack, 
Primary Attack, 
Secondary Attack, 
Decay, Primary 
Decay, Secondary 
Decay, Release, 
Primary Release, 
Secondary Release, 
Crossfade, LFO 1 
Amount, LFO 1 Rate, 
LFO 2 Amount, LFO 2 
Rate, Auxiliary 
Envelope Amount, 
Auxiliary Envelope 
Attack, Auxiliary 
Envelope Decay, 
Auxiliary Envelope 
Release 



56 



Footswitch Control 



Proteus operation manual 



EDITMENU 



FOOTSWITCH CONTROL 

This function allows you route the 3 footswitch controllers (1, 2 or 3) to 
any of the footswitch destinations. The footswitches can be routed to 
switch: Sustain (pri/ sec /both), alternate volume envelope (pri/sec/ 
both), alternate volume release (pri/sec /both), or cross-switch between 
the primary and secondary instruments. 



FOOTSWITCH CTL 
1 -> Sustain 



MIDI CONTROLLER AMOUNT 

This function allows you to specify an amount parameter (variable from 
-128 to +127) for each of the MIDI controllers. 



CONTROLLER AMT 
A:+127 B:-0 



90 



CONTROLLER AMT 
C:+127 D:-0 



30 



PRESSURE AMOUNT 

This function allows you to specify an amount parameter for mono or 
poly keyboard pressure data. The pressure amount is variable from -128 
to +127. 



PRESSURE AMOUNT 
+ 127 



Proteus operation manual 



Pitch Bend Range 57 



EDITMENU 



PITCH BEND RANGE 

This function allows you to specify the pitch wheel range for the current 
preset or it can be set to be controlled globally (set in the Master menu). 
Pitch bend range is only applied when the pitch wheel is used to control 
pitch. 



PITCH BEND RANGE 
+- 12 semiton 



VELOCITY CURVE 

Incoming velocity data can be modified by a velocity curve in order to 
provide different types of dynamics in response to your playing or better 
adapt to the MIDI controller. This function allows you to select one of the 
four velocity curves or leave the velocity data unaltered (off). In addition, 
the velocity curve can be set to "Global", which means that the global 
velocity curve (programmed in the Master menu) is used. 



VELOCITY CURVE 
Global 





10 20 30 40 50 60 70 

Curve 1 



10 20 30 40 50 60 70 80 90 100 

Curve 2 





10 20 30 40 50 60 70 80 90 100 

Curve 3 



10 20 30 40 50 60 70 80 90 100 

Curve 4 



58 



Keyboard Center 



Proteus operation manual 



EDITMENU 



KEYBOARD CENTER 

The Keyboard Center parameter establishes a reference point for key- 
board modulation. Keys above this point will have a positive value and 
keys below it will be negative. The keyboard center can be set to any key 
within the range A-l to C7. 



KEYBOARD CENTER 

c#3 



KEY CENTER 
- + 



rirwiniriniprwirwiniririn 



KEYBOARD TUNING 

In addition to the standard equally divided octave tuning, Proteus 
contains three other types of scale tuning and one user-definable tuning. 
This function selects which tuning will be used in the current preset. 
The choices of keyboard tunings are: 

Equal tuning (12 tone equal temperment) 

Standard Western tuning 

Just C tuning (just intonation) 

Based on small interval ratios; sweet and pure; non-beating intervals 

Vallotti tuning (Vallotti and Young non-equal temperment) 

Similar to 12 tone equal temperment; for a given scale, each key has a 

different character 

19 Tone tuning (19 tone equal temperment) 

19 notes per octave; difficult to play but works well with a sequencer 

Gamelan (Javanese) tuning (5 tone Slendro and 7 tone Pelog) 

Pelog-white keys; Slendro-black keys; exotic tunings of Gamelan flavor 

User tuning which is defined in the Master menu. 



Proteus operation manual 



Preset Links 



59 



EDITMENU 



PRESET LINKS 

Presets may be linked to other presets in order to create layering or 
keyboard splits. The current preset can be linked with up to three other 
presets. Each linked preset can be assigned to a specific range in order to 
easily create keyboard splits. The modulation parameters specified in 
each preset remain in effect for each preset in the link. 



LINK 1 C#l->f# 
000 Preset Nam 



LINK 2 c#l->f# 
191 Preset Nam 




LINK 




CREATING A SPLIT KEYBOARD 



Key Range 




LAYERING TWO PRESETS 



60 



Save Preset 



Proteus operation manual 



EDITMENU 



SAVE PRESET 

Changes made to a preset in the Edit menu are not made permanent until 
the preset is Saved. To save a preset, move the cursor to the bottom line and 
select the location for the new preset with the data entry control. The Enter 
LED will be flashing. Pressing the Enter switch will confirm the opera- 
tion. Any user preset (64-127) may be selected using the data entry 
control. Writing to a user preset erases the existing preset in that location. 
Make sure that the destination preset does not contain information that 
you wanted to keep. 



SAVE PRESET to 
064 Preset Ncm 



To Save a Preset: 

1 . Select the new location 

2. Press Enter 



Proteus operation manual Programming Proteus 61 



PROGRAMMING PROTEUS 



62 Proteus operation manual 



Proteus operation manual 



Linking Presets 



63 



PROGRAMMING PROTEUS 



This section is an introduction to the Edit menu, explains the concept of 
Proteus Synthesis, and contains specific programming examples and tips. 

LINKING PRESETS 

Linking presets is a quick and easy way to create new sounds by "layering 
presets" and also to "split" the keyboard into sections containing differ- 
ent sounds. 

LAYERING TWO PRESETS 

1) Select the first preset you wish to layer. 

2) Press the Edit button. 

3) Use the data entry control to move through the screens until you find 
one of the "LINK" screens. 

4) Move the cursor to the second line of the display, then select the preset 
that you want to be linked with this preset. You may want to play the 
keyboard as you scroll through the various presets in order to hear the 
results. 

5) If you want the link to be a permanent part of the preset, be sure to 
"SAVE PRESET". 



CREATE A SPLIT KEYBOARD USING LINKS 

1) Follow steps 1 through 4 above. 

2) Now set the range of the linked preset while still in the LINK menu. 

3) Save the preset. 

4) Now go back to the first preset, press the Edit button and use the data 
entry control to move through the screens to KEY RANGE. 

5) Set the range of this preset so that it fills the remaining range of your 
keyboard. 

6) Save the preset. 



64 



Editing Presets 



Proteus operation manual 



PROGRAMMING PROTEUS 



EDITING PRESETS 

The easiest way to make a preset is to edit an existing preset. This is also 
an excellent way of becoming familiar with Proteus. If you don't like 
what you hear, simply change the preset and Proteus reverts back to the 
original sound. Changes are not made permanent until you Save them 
using the "SAVE PRESET" function, which is the last screen in the Edit 
menu. Let's experiment and modify a few parameters of an existing 
preset. We'll start with functions that have an obvious effect on the sound 
like Instrument select, Coarse Tuning, Chorus, and Reverse Sound. 
First, choose a preset that strikes your fancy and press the Edit button. 

CHANGING THE INSTRUMENT 

This is probably the easiest way to modify existing presets. Scroll through 
the Edit menu functions until you come to: 



INSTRUMENT pri 
IXXX Instr Name 



Move the cursor down to the bottom line (using the cursor button) and 
change the primary instrument with the data entry control. Play the 
keyboard as you scroll through the various instruments. When you find 
an interesting instrument, move the cursor back up to the first line and 
select: 



INSTRUMENT sec 
IXXX Instr Name 



Repeat the process for the secondary instrument. Find an instrument that 
sounds good when combined with the first one you selected. You can 
probably see that with all these great instruments to work with, you really 
can't go wrong. Now let's play with the tuning. 

CHANGING THE TUNING OF AN INSTRUMENT 

Scroll through the Edit menu functions until you come to: 



TUNING coarse 
pri: +00 sec: +00 



Proteus operation manual 



Editing Presets 



65 



PROGRAMMING PROTEUS 



If the numbers are "00" as in the example above, it means that the 
instruments are tuned to concert pitch (A=440 Hz). Each whole number 
in coarse tuning represents a semitone interval. To tune one or both of the 
instruments up an octave, move the cursor to the number (using the 
cursor button) and set the number to +12 using the data entry control. Try 
tuning one of the instruments to a perfect fifth above the other. Simply set 
the coarse tuning to +7. 



CHORUS 

This is an easy one. With the cursor on the top line of the display, turn the 
data control until you find CHORUS. Chorus can be turned on or off for 
each of the primary and secondary instruments. Chorus works by dou- 
bling the instruments and detuning them slightly. Try it. 



CHORUS 

pri:0ff sec:0ff 



REVERSING THE SOUND 

A simple concept. The instrument sounds can be played in reverse. This 
will normally make an instrument sound quite a bit different. It also 
virtually doubles the number of raw instruments you have to work with, 
and it's fun. 



REVERSE SOUND 
pri:0ff sec:0ff 



You're probably gettingthe ideaby now. Remember not to change presets 
or the preset will return to normal. If you want to save your creation, select 
the last screen in the Edit menu and select a destination preset location for 
your masterpiece, then press Enter. That's it. 

The previous examples were offered solely to pique your curiosity. By all 
means, go ahead and experiment with any of the other functions. Some of 
the best sounds have been discovered by accident. If it sounds good ... Do 
it! 



66 



Proteus Synthesis 



Proteus operation manual 



PROGRAMMING PROTEUS 



PROTEUS SYNTHESIS 

Oh, no! Not another form of synthesis to learn. 
Relax. It's easy. 

Proteus Synthesis is actually just a form of additive synthesis. Only, 
instead of building a sound from simple sine waves, Proteus starts with 
complete sampled sounds or complex waveforms and combines all or 
part of these together to form a new sound. The process is illustrated 
below. 

PROTEUS SYNTHESIS 



Instrument 



Pri 




Shaped with DCA 



Added Together to 
form Resultant Sound 



Sec 





Fade 
Area 



Portions of two sounds are dynamically crossfaded in order to produce a new sound containing 
elements of both. 



The envelope generators controlling the DCAs (digitally controlled am- 
plifiers) can be used to fade between two instruments (primary and 
secondary) during the course of a note. This powerful technique allows 
you to combine elements of different instruments together to form 
completely new sounds. New sounds that are totally natural, because 
they are based on natural sounds. Proteus also contains many digitally 
generated waveforms that can be combined with other digital waves or 
with sampled instruments in order to change the character of the sound, 
perhaps to add a digital "edge" or add more bottom. In addition to the 
envelope generators, parameters such as Delay, Sample Start, and 
Crossfade allow you to further control the blend of primary and secon- 
dary instruments. 



Proteus operation manual 



Programming Examples 



67 



PROGRAMMING PROTEUS 



As an example, let's combine the electric guitar and a synthesized wave- 
form to create a new instrument. Refer to the Edit menu parameters in the 
chart below. The Electric Guitar is the basic sound and is augmented by 
a chorused, synthesized wave which adds a digital sheen. Note that the 
guitar has a slower attack, which completely changes its character. 
Basically, the attack of the guitar has been replaced by the synthesized 
wave. In addition, the guitar is tuned up one octave and the two sounds 
have been panned to different positions in the stereo field. 



Primary 


Secondary 


Instrument: Oct. 7 All 


Instrument: El. Guitar 


Alt Envelope: On 


Alt Envelope: On 


A H D S R 
00 00 51 00 36 


A H D S R 
05 05 27 88 44 


Volume: 45 


Volume: 88 


Chorus: On 


Chorus: Off 


Tuning: +00 


Tuning: +12 


Pan: +2 


Pan: -2 



ANOTHER EXAMPLE 

As another example, we'll use the attack portion of the Soft Flute and the 
sustain portion of the Tenor Sax as raw material. This time we will use the 
Delay and Sample Start parameters as well as the Alternate Envelopes to 
blend the two instruments. The attack portion of the secondary instru- 
ment is removed using the sample start parameter and then delayed 
slightly so it will sound only after the flute attack portion begins to decay. 



Primary 


Secondary 


Instrument: Soft Flute 


Instrument: Tenor Sax 


Alt Envelope: On 


Alt Envelope: On 


A H D S R 
04 02 16 00 16 


A H D S R 
06 00 38 85 40 


Volume: 109 


Volume: 83 


Fine Tuning: +05 


Fine Tuning: +00 


Tuning: +12 


Tuning: +12 


Delay: 000 


Delay: 002 


Sound Start: 000 


Sound Start: 040 



68 



Sequencing Proteus 



Proteus operation manual 



PROGRAMMING PROTEUS 



The alternate envelopes are used to "fine tune" the splice. Furthermore, 
the flute attack has been detuned a bit sharp so the composite sound will 
start sharp and fall into correct pitch. Continue your experiments using 
this example, but changing the primary and secondary instruments. 
When you have found a good combination, "fine tune" the delay, sample 
start, volume and envelope parameters. Feel free to play with the modu- 
lation parameters as well. 



USING PROTEUS WITH A SEQUENCER 

We thought you'd never ask. Proteus was designed from its conception 
with multi-timbral sequencing in mind. Just take a look at the main 
screen. 



C01 Vol 127 Pan+0 
000 Preset Name 



The preset for each MIDI channel is selected from the main screen. Press 
the cursor button to move the cursor up so that it is underneath the 
channel number. 



C01 Vol 127 Pan+0 
000 Preset Name 



Turn the data entry control and you will see that every MIDI channel has 
a preset assigned to it. Just select a preset for each of the MIDI channels. 
It's simple! In order to respond to multiple MIDI channels, Proteus must 
be in Multi-Mode. Multi-Mode is selected in the Master menu. Press the 
Master menu button and use the data entry control to scroll through the 
screens until you find MIDI MODE. 



MIDI MODE 
Multi 



ID 
00 



Proteus operation manual 



Advanced Sequencing 



69 



PROGRAMMING PROTEUS 



Move the cursor down to the second line and change the mode to Multi 
as shown. Proteus will now respond to multiple MIDI channels. 



MORE ADVANCED SEQUENCING 

PRE-SEQUENCE SETUP 

Suppose that you want to have your sequencer set up everything for you 
before the start of the song. Good idea. This will make the Proteus setup 
procedure automatic and prevent the wrong presets from playing. 

The basic idea of a pre-sequence setup is to send out MIDI information 
just before the start of the song. This MIDI information will select all the 
proper presets, adjust the mix, and pan positions of each preset. 

Note: Proteus setup information should be transmitted from the se- 
quencer before the song actually starts, perhaps during a lead-in measure 
or countdown. DO NOT send setup information just before the first beat 
of the song or MIDI timing errors could result. 

INITIAL SETUP 

In the Master menu: 

1) Turn ON Multi-Mode 

2) Turn ON Preset Change enable for each channel. 

3) Turn OFF MIDI Enable on MIDI channels that are to be used for other 
synthesizers. 

PRESET, VOLUME and PAN SETUP 

Program your MIDI sequencer to transmit the following information 
before the song starts. 

1) Select the proper presets for each MIDI channel used on Proteus. 

2) Send MIDI volume information (controller #7) for each MIDI channel 
used on Proteus. 

3) Send MIDI pan information (controller #10) for each MIDI channel 
used on Proteus. 



■ The Preset, Volume, 
and Pan information for 
all 16 channels is in- 
cluded when the Master 
settings are transmitted 
or received. 



70 



Using the 32 Channels 



Proteus operation manual 



PROGRAMMING PROTEUS 



The following 
Proteus/1 presets 
use only one output 
channel: 

5. Acoustic Guitar 
14. Rock Drums 1 
20. Velocity Falls 
25. Special FX 1 

30. Latin Drums 

31. Wind Chimes 

35. Baritone Sax 

36. Solo Trumpet 
46. Latin Percussion 
48. Grand Piano 
53. Solo Trombone 
124. Tremolo Vibe 
127. Barber Pole 

160. Low Grand 

161. Bright Piano 

162. Xpressive String 

163. String Vel.-> Atk. 

164. Choir 

165. Dark Choir 

167. Alto Sax 

168. Tenor Sax 

170. French Horn 

171. Trombone 2 

172. Trom./Trumpet 

173. Guitar Mutes 

174. Electric Guitar 

176. Rock Bass 

177. Flint Bass 

178. Bass Synth 2 

179. Harmonics 

180. Marimba 

181. Vibes Wheel 

182. Percuss ives 

183. Rock Drums 2 

184. Rock Drums 3 

185. Snares/Drums 

186. Kick Drums 

187. Cymbals 

188. Tom Toms 

189. Conga Trans. 

190. Block Trans. 



Now your song will play perfectly every time using the proper presets, 
volumes and pan positions. In addition, presets, volumes and pan 
positions (or anything else for that matter) can be adjusted in realtime 
during the song. Note: If the wrong presets are being selected, check the 
MIDI Program -> Preset map. 

To carry the pre-sequence setup even further, you can even include preset 
data for each preset used in the sequence. See page 22 for details. 



USING THE 32 CHANNELS 

As stated earlier, Proteus has 32 independent audio channels which are 
utilized dynamically. With 32 channels and 192 presets, you have a 
universe of sonic textures at your disposal. But you have probably 
noticed that many of the best sounding presets in Proteus are linked with 
other presets or have chorus applied to them in order to make them sound 
larger. While this is fine when the preset is played solo, you may begin to 
run out of channels when Proteus is played multi-timbrally. Linking and 
chorusing cause twice as many channels to be used by the preset. Learn 
to "budget" your output channels for maximum efficiency. 

CHANNEL RIPOFF 

When Proteus uses up all its 32 channels and needs more, it steals a 
channel from the key that has been held the longest. This is commonly 
known as "channel ripoff". You will most commonly encounter this 
"ripoff" when using Proteus in multi-timbral mode. Since Proteus dy- 
namically allocates channels as needed, to eliminate ripoff you must 
either, play fewer notes, use simpler sounds, turn off doubling (pri/sec, 
chorus, or linked presets), or use MIDI overflow to another Proteus. 

INSTRUMENT DEFINITION 

If your sequence has a instrumental section using numerous chords, it 
may be advantageous to use a basic preset without links or chorus. A 
preset will sound much different alone than when combined with an 
ensemble. Try to resist the temptation to make every sound as fat as 
possible or you can wind up with "MIDI Soup"; a huge, stifling sound 
with every possible audio frequency filled. A solo saxophone in a band 
isn't chorused and it sounds great. Each voice in your composition should 
have it's own identity. Save the monster sounds for solos or dramatic 
effects. 



Proteus operation manual 



External Processing 



71 



PROGRAMMING PROTEUS 



USING EXTERNAL PROCESSING 

Don't be afraid to use external processing on specific sounds if you feel the 
urge. The submix sends and returns on Proteus are there for a reason. In 
many instances a bit of reverb or EQ will be just the thing an instrument 
needs to give it a distinct identity. Incidentally, an external fuzz box can 
work wonders on the clean electric guitar sound. If you think about it, 
adding distortion to a clean guitar sound is much closer to the way an 
electric guitar is normally processed. By dedicating one of your old fuzz 
boxes to a submix out/in, you can have programmable distortion for use 
on guitars, organs, or whatever. 




OUTPUTS' 



MONO STEREO 

0=00=00 

SUB 2 SUB 1 MAIN 

R L R L R L 




4 u 



A 

v 

Tip 



A 
V 



A 

V 



Ring 



V 



V A 
Fuzzman 



L 



Tip 



V A 



Ring Tip 



V A 



Ring 



Fuzz Box 



Stereo 
Reverb Unit 



Using the programmable outputs and returns, specific presets can be routed through your 
favorite effects without using up precious mixer channels. 



72 



Patch Sheet 



Proteus operation manual 



This patch sheet may be photocopied and used to keep written records of your favorite Proteus sounds. 



PROTEUS Patch Sheet 



MIX OUTPUT 




PRI INSTRUMENT 




SEC INSTRUMENT 




KEY RANGE 




Pri KEY RANGE 




Sec KEY RANGE 




Pri VOLUME 




Sec VOLUME 




Pri PAN 




Sec PAN 




Pri COARSE TUNE 




Sec COARSE TUNE 




Pri FINE TUNE 




Sec FINE TUNE 




Pri CHORUS 




Sec CHORUS 




Pri DELAY 




Sec DELAY 




Pri SOLO 




Sec SOLO 




Pri SOUND START 




Sec SOUND START 




Pri REVERSE 




Sec REVERSE 




Pri ALT. ENVELOPE 




Sec ALT. ENVELOPE 





Pri ATTACK 




Pri HOLD 




Pri DECAY 




Pri SUSTAIN 




Pri RELEASE 




Sec ATTACK 




Sec HOLD 




Sec DECAY 




Sec SUSTAIN 




Sec RELEASE 




XFADE MODE 


FD 


Xsw 






XFADE DIRECTION 


-> 


XFADE BALANCE 




XFADE AMOUNT 




SWITCH POINT 




LFO 1 SHAPE 




LFO 1 AMOUNT 




LFO 1 RATE 




LFO 1 DELAY 




LFO 1 VARIATION 




LFO 2 SHAPE 




LFO 2 AMOUNT 




LFO 2 RATE 




LFO 2 DELAY 




LFO 2 VARIATION 




AUXENV AMOUNT 




AUX ENV DELAY 




AUX ENV-ATTACK 




AUX ENV-HOLD 




AUX ENV-DECAY 




AUX ENV-SUSTAIN 




AUX ENV-RELEASE 





KEY/VELOCITY CONTROL 


1 > 




2 > 




3 > 




4 > 




5 > 




6 > 




REALTIME MOD. CONTROL 


1- -> 


2- -► 


3- -► 


4- -► 


5- -*■ 


6- -► 


7- -► 


8- -► 


FOOTSWITCH CONTROL 


1 -► 


2 -► 


3 -»• 


CONTROLLER AMOUNT 


CONTROLLER A 




CONTROLLER B 




CONTROLLER C 




CONTROLLER D 




PRESSURE AMT. 




P-BEND RANGE 




VEL CURVE 




KYBD CENTER 




KYBD TUNING 




LINK1 -► 




LINK 2 -»• 




LINK 3 -»• 





Proteus operation manual Reference J3 



REFERENCE SECTION 



74 



Factory Presets 



Proteus operation manual 



PROTEUS/1 FACTORY PRESETS 



PROTEUS 
Presets 

0-63 ROM 
64-127 RAM 
128-191 ROM 



PROTEUS XR 
Presets 

0-255 RAM 
256-383 ROM 



■ The RAM presets 
may be modified or re- 
placed as you desire, 
but the ROM presets 
are stored perma- 
nently in the Proteus. 



KEYBOARDS 

0. (256) Stereo Piano 

9. (265) B3 Mod->Leslie 

16. (272) Heaven 

18. (274) Electric Piano 

32. (288) Harpsikord 

39. (295) String Bass/Piano : 

48. (304) Grand Piano 

66. (66) Space Clavier 

69. (69) Ball Game 

80. (80) Vibrant Piano * 

96. (96) Piano Drama 

99. (99) Reedy Keys 

112. (112) Winston Grand 

122. (122) Mr. Minister 

128. (320) Piano & Synth * 

144. (336) Saloon Piano 

160. (352) Low Grand 

161. (353) Bright Piano 



STRINGS 

1.(257) Hall Strings 
33. (289) String Orchestra 
49. (305) Flange String 
65. (65) Isham Strings * 
90. (90) Synth String 
100. (100) String Swell 

110. (110) Hall 2 Strings ** 

111. (Ill) Hall 2 Link ** 
113. (113) STRings 

129. (321) String Chamber 
132. (324) New Orchestra * 
151. (343) Orchestra Hit 

162. (354) Xpressive String 

163. (355) String Vel. ->Atk. 



VOICES 

2. (258) InChoirlrie 
34. (290) Human Voices 
58. (314) Octave Choir 
66. (66) WeAteFlangers 
116. (116) Vibes/Choir * 

145. (337) Crystal Choir * 

146. (338) Herbal Verbal 

164. (356) Choir 

165. (357) Dark Choir 



BRASS 

3. (259) Big City Brass 

19. (275) French Horn Sect. 

20. (276) Velocity Falls 
36. (292) Solo Trumpet 

52. (308) Miles Solos 

53. (309) Solo Trombone 
68. (68) Hard Trumpet 

83. (83) Orchestral Brass 

84. (84) Low Octave Bones 
91. (91) Space Trumpet 
123. (123) Bone Face 

131. (323) Trumpet Combo 

132. (324) New Orchestra * 

147. (339) Section Falls 

148. (340) Section Horns * 

170. (362) French Horn 

171. (363) Trombone 2 

172. (364) Tromb. /Trumpet 



REEDS/FLUTES 

4. (260) Stereo Sax 
17. (273) Verb Flute 
35. (291) Baritone Sax 
115. (115) Uboe 

130. (322) Breathy Flute 
132. (324) New Orchestra : 

166. (358) Soprano Reed 

167. (359) Alto Sax 

168. (360) Tenor Sax 

169. (361) Synth. Clarinet 



Bold Type... indicates a User Preset. 
Number in Parenthesis = XR Preset Number 

* indicates that the preset is linked to another preset. 

** indicates that the two adjacent presets are linked. 



PLUCKED 

5. (261) Acou. Guitar 

6. (262) Modern Guitar 
21. (277) Stereo Mutes 

37. (293) 12 String * 

38. (294) Modern Harp 

47. (303) SpaceBkwdGuitar 
54. (310) Xpr. El. Guitar 
59. (315) Gitano 
70. (70) Clean Stratocaster 
97. (97) Punctuate 
107. (107) Banjovi 
118. (118) Rock Gitaro 
125. (125) Dulcimer 

133. (325) Ster. Acou. Guitar 

134. (326) Shamisen 

173. (365) Guitar Mutes 

174. (366) Electric Guitar 

175. (367) Ster. El. Guitar 
179. (371) Harmonics 



SYNTHESIZER 

8. MiniMoog Bass 

10. (266) Phantazia 

11. (267) Zound Trax 

26. (282) Har. Synth 

27. (283) Beyond FM 

40. (296) Mythical Pad 

41. (297) PianoBell 
43. (299) Empyrean 

50. (306) White Veil 

51. (307) Dark World 

55. (311) Space Bass Pad 

56. (312) Dune 

57. (313) RB's Wine 

64. (64) FM Style Piano * 

66. (66) WeAteFlangers 

67. (67) Space Clavier 

73. (73) Space Horn 

74. (74) Blue Ice 

75. (75) Embered Tines 

81. (81) Emperor * 

82. (82) NoiseFree LA * 
85. (85) Synthibell 



Proteus operation manual 



Factory Presets 



75 



PROTEUS/1 FACTORY PRESETS 



SYNTHESIZER 

86. (86) Space Steel 

89. (89) Squarish Lead 

90. (90) Synth String 

91. (91) Space Trumpet 
98. (98) Lunar Window 

101. (101) Jingle Pad 

102. (102) Solo Lead 

104. (104) Bass & Synth * 

105. (105) Gillectro 

106. (106) Pop Pad 
114. (114) Sharp Edge 
117. (117) Solo Synth 3 
121. (121) Bed Tine 

128. (320) Piano & Synth * 

136. (328) Rock Attitude 

137. (329) Tocatta Seven 

138. (330) Pop Art 

139. (331) Mini Solo 

140. (332) Airimba 
149. (341) Hollow Solo 
152. (344) Keys Please 

155. (347) Crazy Man 

156. (348) Clock Chimes 
178. (370) Bass Synth. 2 



BASS 

7. (263) Thunder Bass 

8. (264) MiniMoog Bass 

22. (278) Stone Bass & Har. 

23. (279) Slap/Pop Bass 

24. (280) Rap Bass 

39. (295) String Bass/Piano 
55. (311) Space Bass Pad 

71. (71) Noze Bass/Pad 

72. (72) Wide Neck * 

103. (103) Buzzy Frets 

104. (104) Bass & Synth * 
109. (109) Slippery Bass 

135. (327) Stone Slap Bass 
150. (342) Fat Boy Bass 

176. (368) Rock Bass 

177. (369) Flint Bass 



178. (370) Bass Synth. 2 

179. (371) Harmonics 

TUNED 
PERCUSSION 

12. (268) Vibe n Me 

13. (269) Tiki Threat 

44. (300) Glockenspiel 

45. (301) Wide Marimba 
61. (317) Medicine Drum 

76. (76) Odd Vibes 

77. (77) Bright Steel * 

92. (92) Metal Throat 

93. (93) Light Mallet 

94. (94) Congablock 
108. (108) Malletumba 
116. (116) Vibes/Choir * 
124. (124) Tremolo Vibe 
126. (126) Block Head 

140. (332) Airimba 

141. (333) Steel Drums 

157. (349) Vibe & Marimba 

180. (372) Marimba 

181. (373) Vibes Whl-Mod. 

189. (381) Conga Trans. 

190. (382) Block Trans. 

PERCUSSION 

14. (270) Rock Drums 1 
30. (286) Latin Drums 

46. (302) Latin Percussion 

61. (317) Medicine Drum 

62. (318) Radical Drum 

142. (334) Modern Drums 
153. (345) Metal Toys 

158. (350) Ster. Slap Drum 

182. (374) Percussives 

183. (375) Rock Drums 2 

184. (376) Rock Drums 3 

185. (377) Snares/Drums 

186. (378) Kick Drums 

187. (379) Cymbals 

188. (380) Tom Toms 



WORLD 

28. (284) Kyoto Forest 

29. (285) Balinesia 
42. (298) Noh Way! * 

60. (316) Thai Bath House 
78. (78) Native Power * 
134. (326) Shamisen 



SOUND EFFECTS 

15. (271) Metal Vapor 
25. (281) Special FX 1 
31. (287) Wind Chimes 
63. (319) Mtlphone Arp. 9 
79. (79) Insects 

87. (87) Jet Boom ** 

88. (88) Jet Boom ** 

95. (95) Hold & Sample 

119. (119) Animal 1 ** 

120. (120) Animal ** 
127. (127) Barber Pole 
143. (335) Space Texture 

153. (345) Metal Toys 

154. (346) Weather 
156. (348) Clock Chimes 
159. (351) Flying Module 



191. (383) Default Patch 



Bold Type ... indicates a User Preset. 
Number in Parenthesis = XR Preset Number 

* indicates that the preset is linked to another preset. 

** indicates that the two adjacent presets are linked. 



76 



Sampled Sounds 



Proteus operation manual 



PROTEUS INSTRUMENTS 



SAMPLED SOUNDS 

1. Piano 9 foot Grand Piano 

2. Piano Pad Piano with slow attack and sustained loop 

3. Loose Piano Old style Grand Piano 

4. Tight Piano Contemporary 9 foot Grand Piano 

5. Strings String section with Basses, Cellos, Violas and Violins 

6. Long Strings String section with long attack and release 

7. Slow Strings Section Strings with longer attack and release 

8. Dark Strings Section Strings with a darker tone 

9. Voices Female Choir 

10. Slow Voices Female Choir with longer attack and release 

11. Dark Choir Female Choir with a darker tone 

12. Synth Flute Genuine Flute with a short loop 

13. Soft Flute Slow attack Flute 

14. Alto Sax Alto Sax 

15. Tenor Sax Tenor Sax 

16. Baritone Sax Baritone Sax 

17. Dark Sax Tenor sax with a darker tone 

18. Soft Trumpet Soft blown Trumpet 

19. Dark Soft Trumpet Soft blown Trumpet with a darker tone 

20. Hard Trumpet Hard blown Trumpet 

21. Dark Hard Trumpet Hard blown Trumpet with a darker tone 

22. Horn Falls Descending pitch Trumpets 

23. Trombone 1 Trombone 

24. Trombone 2 Trombone 

25. French Horn French Horn 

26. Brass 1 Combination Trombone/Soft Trumpet 

27. Brass 2 Combination Trombone/Hard Trumpet 

28. Brass 3 Combination Trombone/Soft Trumpet/Hard Trumpet 

29. Trombone/Sax Combination Trombone and Sax 

30. Guitar Mute Palm muted Electric Guitar 

31. Electric Guitar Clean, Humbucking Electric Guitar 

32. Acoustic Guitar Steel String Acoustic Guitar 

33. Rock Bass Carbon Fiber Bass Guitar 

34. Stone Bass Rare, Aluminum Neck Bass Guitar 

35. Flint Bass Bass Guitar with altered harmonics 

36. Funk Slap Lower two Bass Guitar strings slapped 

37. Funk Pop Popped Bass Guitar strings (combine with Funk Slap) 

38. Harmonics Bass Guitar Harmonics 

39. Rock/ Harmonics Combination Rock Bass and Bass Harmonics 



Proteus operation manual 



Sampled Sounds 



77 



PROTEUS/1 INSTRUMENTS 



40. Stone /Harmonics .. Combination Alum. Neck Bass and Harmonics 

41. Nose Bass Chunky, Popped Bass Guitar 

42. Bass Synth 1 Classic, Analog Synthesizer Bass Sound 

43. Bass Synth 2 Digital Bass Synthesizer 

44. Synth Pad Fat, Digital Synthesizer pad 

45. Medium Envelope Pad Digital Synth pad with altered envelope 

46. Long Envelope Pad. Digital Synth pad with long attack and release 

47. Dark Synth Digital Synthesizer with a darker tone 

48 . Percussive Organ Classic, Tone Wheel Organ sound 

49. Marimba Marimba 

50. Vibraphone Vibraphone 

51. All Percussion (balanced levels) 

52. All Percussion (unbalanced levels) ... 

53. Standard Percussion Setup 1 

54. Standard Percussion Setup 2 

55. Standard Percussion Setup 3 

56. Kicks 

57. Snares 

58. Toms 

59. Cymbals 

60. Latin Drums 

61. Latin Percussion 

62. Agogo Bell 

63. Woodblock 

64. Conga 

65. Timbale 

66. Ride Cymbal 

67. Percussion FX1 

68. Percussion FX2 

69 . Metal Percussive, Metallic, Analog Synthesizer Sound 



See the 
Percussion 
Instrument Location 
Diagrams 

on the following pages. 



78 



Proteus/1 Harmonic Waveforms 



Proteus operation manual 



PROTEUS/1 INSTRUMENTS 



HARMONIC WAVEFORMS 

70. Oct 1 (Sine) 

71. Oct 2 All 



72. Oct 3 All 

73. Oct 4 All 

74. Oct 5 All 

75. Oct 6 All 

76. Oct 7 All 

77. Oct 2 Odd 

78. Oct 3 Odd 

79. Oct 4 Odd 

80. Oct 5 Odd 

81. Oct 6 Odd 

82. Oct 7 Odd 

83. Oct 2 Even 

84. Oct 3 Even 

85. Oct 4 Even 

86. Oct 5 Even 

87. Oct 6 Even 

88. Oct 7 Even 

89. Low Odds 

90. Low Evens 

91. Four Octaves 



Starting from the first octave (fundamental), the 
harmonic waveforms contain the harmonics (odd, 
even, or all) present in each octave. In each succes- 
sive octave the number of harmonics doubles. By 
combining (pri/sec or link) the harmonic wave- 
forms in various amounts (volume), and transpos- 
ing them (coarse /fine tuning), a vast range of tim- 
bres may be produced. 



Frequency (log) 



t 



Harmonic 


1 


2 3 


4 5 6 7 


Octave 


1 


2 


3 











8 910 > 15 



161718 



->31 



The Harmonic Waveforms have been designed so that almost any harmonic combination may 
be assembled. 



Proteus operation manual 



Proteus/1 Waveforms 



79 



PROTEUS/1 INSTRUMENTS 



SINGLE CYCLE WAVEFORMS 

92. Synth Cycle 1 

93. Synth Cycle 2 

94. Synth Cycle 3 

95. Synth Cycle 4 

96. Fundamental Gone 1 

97. Fundamental Gone 2 

98. Bite Cycle 

99. Buzzy Cycle 1 

100. Metalphone 1 

101. Metalphone 2 

102. Metalphone 3 

103. Metalphone 4 

104. Duck Cycle 1 

105. Duck Cycle 2 

106. Duck Cycle 3 

107. Wind Cycle 1 

108. Wind Cycle 2 

109. Wind Cycle 3 

110. Wind Cycle 4 

111. Organ Cycle 1 

112. Organ Cycle 2 



MULTI-CYCLE WAVEFORMS 

113. Noise 

114. Stray Voice 1 

115. Stray Voice 2 

116. Stray Voice 3 

117. Stray Voice 4 

118. Synth String 1 

119. Synth String 2 

120. Animals 

121. Reed 

122. Pluck 1 

123. Pluck 2 

124. Mallet 1 

125. Mallet 2 



These single cycle waveforms were 
either synthesized or taken from ac- 
tual sampled sounds. They were 
chosen for their diversity and inter- 
esting qualities. 



The multi-cycle cycle waveforms are 
short sections of sampled sounds. 



80 



All + Standard 1 



Proteus operation manual 



PROTEUS/1 

PERCUSSION INSTRUMENT LOCATIONS 



MIDI 
Key# 



II INN III II III II III II 



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Proteus operation manual 



Standard 2 + 3 



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Key# 



PROTEUS/1 
PERCUSSION INSTR UMENT LOCATIONS 




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Standard percussion setups 1, 2, and 3 are compatible with the Alesis HR16, 
Korg M1, Dr. T's "Dr. Drum" patterns as well as other devices and programs. 



82 Kicks, Snares, Toms 



Proteus operation manual 



PROTEUS/1 

PERCUSSION INSTR UMENT LOCATIONS 



MIDI 
Key# 



Reverb Kick 1 



Kick 2 



raimmiminniii 



Kicks 

Instrument 56 




Kick 3 



MIDI 
Key# 



36 



Reverb Snare 1 



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rairnmiimnniii 




Snares 

Instrument 57 



14" Tom Tom 



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Key# 



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60 



84 




1 0" Tom Tom 



96 



Toms 

Instrument 58 



Proteus operation manual 



Cymbals + Latin 



83 



PROTEUS/1 
PERCUSSION INSTR UMENT LOCATIONS 



Big HiHat Closed HiHat 2 Open HiHat 2 



MIDI 
Key# 



mwifflimniifflTn 



84 




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Ride Cymbal Rude Crash 







Cymbals 








Instrument 59 


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Guiro Down Electro Cymbal Agogo Bell 

Latin Percussion 

Instrument 61 



84 FX, Agogo, Conga, Ride 



Proteus operation manual 



PROTEUS/1 

PERCUSSION INSTR UMENTLOCA TIONS 



Open 

HiHat Ride 
2 Cymbal 



Electro Finger 
Cymbal Snap 



MIDI 
Key# 



II III II III II III II III II 



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Snare 1 Click 



Rude 
Crash 

Percussion FX 1 

Instrument 67 



Big 
HiHat 




96 



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Up Open Slap 



MIDI 
Key# 



36 



48 



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Ride Cymbal 



II III II III II III II III II 



Percussion FX 2 

Instrument 68 




Big HiHat 



96 



Agogo Bell 
Conga 
Ride Cymbal 



MIDI 
Key# 



II III II III II III II III II 




Agogo Bell, Conga, Ride Cymbal 

Instruments 62, 64, 66 



Proteus operation manual 85 



PROTEUS/1 JOu* 2 
PRESETS and INSTRUMENTS 



86 



Proteus/1 puu 2 Orchestral Presets 



Proteus operation manual 



ORCHESTRAL 
ROM PRESETS 



STRINGS 

384. Solo Cello 

385. Solo Viola 

386. Solo Violin 

387. Quartet 

388. Solo Chamber 

389. StrHarmonic 
391.GambaMusik 

392. Cellophane 

393. Vienna Dream 

394. RoomOfStrings 

395. Legato Str 

396. Concerto 

397. Power Cello 

398. Devil Dance 

399. Just Violin 

400. Violin& Viola 

401. BassoViolino 

402. Celli Viola 

403. String Stuff* 

404. Pizz Basses 

405. Pizz Celli 

406. Pizz Violas 

407. Pizz Violins 

408. Pizzicato 1 

409. Pizzicato 2 

410. Bowed () Pitz 

412. 3 Octave Pix* 

413. Paper Pizza 

414. Synth-N-Pitz 

420. PizzBass 8vb 

421. PizzVlns 8va 

474. Harpsomatic 

475. Harpsicato 



WOODWINDS 

427. Piccolodeeyo 

428. Oboe 

429. English Horn 

430. Clarinet 

431. Verb Clarinet 

432. Bass Clarinet 

433. Bassoon 

434. ContrBassoon 

437. Chamber Wind 

438. Section Winds 

439. Wind Stack* 

440. Double Reeds 

441. Krummhorns S 

442. Asian Reed S 

444. Myth Maker 

445. Egyptian Reed S 

447. BassClar 8vb 

448. Cntrbsn 8vb 

449. Clarinet/Bb 

450. Clarinet/A 

451. BassClar/Bb 

452. Eng.Horn/F 



BRASS 

443. Fusion Horn 

453. Harmon Mute 

454. Harmony Room 



ENSEMBLES 

390. Quintoctave 

417. Violin&Oboe 

418. Oboe /Strings 

422. Strgs/Winds 

423. Pizz /Piccolo 

424. Divertimento 

425. Pluck d'Bois 

426. Clarinola 

435. Flute/Oboe 

436. Clar/Bassoon 
446. Piano Winds 
499. SawBass/Lead* 
511. Piano Pizz 



PERCUSSION 

455. Timpani 

456. Tarn Tarn 

457. Tubular Bells 

458. Timba Mallet 

459. Deep Drum 

460. Bell Ensemble 

461. Warm Mallet 

464. Mongol Man 

465. Timp w/Tone 

466. Gamelan Vibe 



va indicates that the preset is shifted an octave up. 

vb indicates that the preset is shifted an octave down. 

* indicates that the preset is linked to another preset. 

S Synthesized - the preset was created in Proteus, not sampled. 



Proteus operation manual 



Proteus/1 pu* 2 Orchestral Presets 



87 



ORCHESTRAL ROM PRESETS 



KEYBOARD 

419. Piano Trio 

467. Notre Dame 

468. Carousel S 

469. Requiem 

470. Chapel Organ S 

471. Sepulcher 

473. Harpsikord 2 S 

474. Harpsomatic 
476. Lurch Pluck 
479. Deep Pad 
482. Phaedra 
488. Tarkus Twin 
490. Sympathetic 

492. Glitter God 

493. Tinker Bell 

494. Bronze Pad 

495. ShimmerWays 

496. Link2Shimmer * 

497. Analog Pad 

502. Square One 

503. Square Link* 

504. Nice Night 

505. Prophet Lead* 

506. Prophet Link 

507. Mystery Scene 

508. ElectricLady 

509. AnalogueMood 

510. Kosmos Keys 



TEXTURES 

462. Magic Bells 
472. Pipe Dream 

477. Whistl'n Joe 

478. Winter Signs 
489. Wrong Room 
498. Electrovocal 



SOUND EFFECTS 

480. Cyberspace 

481. Grim Reaper 
483. Darn Saucers 

485. Space Cowboy 

486. Infinite One 
491. Boat Haus 

500. Psychlotron 

501. Vampirical 



BASS 

411. Jazz Bass S 

415. PizzMoogBass 

416. Amplify Bass 
463. Sub It 

484. Kool Bass 
487. Turbo Bass 



va indicates that the preset is shifted an octave up. 

vb indicates that the preset is shifted an octave down. 

* indicates that the preset is linked to another preset. 

S Synthesized - the preset was created in Proteus, not sampled. 



88 



Proteus/1 fOu> 2 Orchestral Instruments 



Proteus operation manual 



fOtu* INSTRUMENTS 



■ Quartets 1-4 have 
been designed so that 
they can be layered 
without having the 
individual instruments 
overlap each other. 
This gives you a much 
richer sound than you 
would get by simply 
layering the same 
instruments on top of 
each other. 



Your Proteus/1 JOu* Orchestral contains a full 8 Megabytes of true 16-bit 
Pop/Rock and Orchestral samples. In addition, because you purchased 
the fOu> Orchestral, you get an extra 128 ROM presets. To make room for 
the additional presets, the Demo Sequence has been deleted. The new 
instruments and presets have been added on to the end of the Proteus/ 
1 lists. 



ORCHESTRAL SAMPLED SOUNDS 

126. Solo Cello Bowed, Solo Cello with natural vibrato 

127. Solo Viola Bowed, Solo Viola with natural vibrato 

128. Solo Violin Bowed, Solo Violin with natural vibrato 

129. Gambambo Cello, Violin with no vibrato 

130. Quartet 1 Celli, Viola, Violin 

131. Quartet 2 Bass, Celli, Violas, Violins 

132. Quartet 3 Celli, Viola, Violin 

133. Quartet 4 Celli, Violin 

134. Pizz Basses Bass section, plucked 

135. Pizz Celli Celli section, plucked 

136. Pizz Violas Viola section, plucked 

137. Pizz Violin Violin section, plucked 

138. Pizzicombo Pizzicato Bass, Celli, Violas, Violins 

139. Bass Clarinet Sustained Bass Clarinet 

140. Clarinet Sustained Clarinet 

141. Bass Clarinet/Clarinet Bass Clarinet and Clarinet split at C3 

142. Contra Bassoon Contra Bassoon 

143. Bassoon Bassoon 

144. English Horn English Horn with natural vibrato 

145. Oboe Oboe with natural vibrato 

146. Woodwinds Contra Bassoon, Bassoon, English Horn, Oboe 

147. Harmon Mute Solo Trumpet, Harmon Mute 

148. Tubular Bell Orchestral Tubular Bell 

149. Timpani Timpani 

150. Timpani/Tubular Bell Timpani/Tubular Bell split at C2 

151. Tamborine Brass Tamborine 

152. Tarn Tarn Tarn Tarn 

153. Percussion 3 See Percussion 3 Chart 

154. Special Effects See Special Effects Chart 

155. Oboe noVib Oboe with no vibrato 

156. Upright Pizz Pizzicato Bass transposed across entire range 



Proteus operation manual 



Proteus/1 }Ou* 2 Orchestral Instruments 



89 



fOU* INSTRUMENTS 



DIGITAL WAVEFORMS 

157. Sine Wave 

158. Triangle Wave 

159. Square Wave 

160. Pulse 33% 

161. Pulse 25% 

162. Pulse 10% 

163. Sawtooth 

164. Sawtooth Odd Gone 

165. Ramp 

166. Ramp Even Only 

167. Violin Essence 

168. Buzzoon 

169. Brassy Wave 

170. Reedy Buzz 

171. Growl Wave 

172. HarpsiWave 

173. Fuzzy Gruzz 

174. Power 5ths 

175. Filtered Saw 

176. Ice Bell 

177. Bronze Age 

178. Iron Plate 

179. Aluminum 



180. Lead Beam 

181. Steel Extract 

182. Winter Glass 

183. Town Bell Wash 

184. Orchestral Bells 

185. Tubular SE 

186. Soft Bell Wave 

187. Swirly 

188. Tack Attack 

189. Shimmer Wave 

190. Moog Lead 

191. B3 SE 

192. Mild Tone 

193. Piper 

194. Ah Wave 

195. Vocal Wave 

196. Fuzzy Clav 

197. Electrhode 

198. Whine 1 

199. Whine 2 

200. Metal Drone 

201. Silver Race 

202. Metal Attack 

203. Filter Bass 









MIDI w 
Key# 


II 

36 


III 


II 

48 


III 


II 

60 


III 


II 

72 


III 


II 

84 


III 

1 9 


6 




Tarn Tarn Tubular Bell Brass Tambourine Timpani Tubular Bell 
Tarn Tarn Brass Tamborine 




MIDI -. 
Key# 


ir 

36 


III 


II 

48 


III 


II 

60 


III 


II 

72 


III 


II 

84 


III 

" 






Timpani 





90 Proteus operation manual 



Proteus operation manual 9 1 



PROTEUS/2 PRESETS and INSTRUMENTS 



92 



Proteus/2 Factory Presets 



Proteus operation manual 



PROTEUS/2 FACTORY PRESETS 



PROTEUS 
Presets 

0-63 ROM 
64-127 RAM 
128-191 ROM 



PROTEUS XR 
Presets 

0-255 RAM 
256-383 ROM 



■ On the Proteus XR, 
ROM presets 256-319 
are duplicated in the 
first 64 RAM locations. 



STRINGS 

0. Solo Cello t 

1. Solo Viola t 

2. Solo Violin t 

3. Quartet 

4. Solo Chamber 

5. Arco Basses t 

6. Arco Celli t 

7. Arco Violas t 

8. Arco Violins t 

9. Marcato 1 

10. Marcato 2 

11. Legato Str 

12. Concerto 

13. Pizz Basses t 

14. Pizz Celli t 

15. Pizz Violas t 

16. Pizz Violins t 

17. Pizzicato 1 

18. Pizzicato 2 

19. Trem Strings 

20. Tremulus 
60. Harp 

74. Exotic Harp 
96. Vienna Dream 
99. RoomOfStrings 
109. String Thing 
132. Koto £ 
136. Soft Harp 
139. Classic Gtr £ 

141. StrHarmonic £ 

142. Cellophane 

143. Gamba Musik 



WOODWINDS 

24. Flute t 

25. Piccolo t 

26. Oboe t 

27. English Horn t 

28. Clarinet t 

29. Bass Clarinet t 

30. Bassoon t 

31. Contrbassoon + 

32. Chamber Winds 

33. Section Winds 
85. Piccolodeeyo 
131. Recorder £ 
135. Asian Reed £ 
154. Krummhorns £ 

156. Soft Flute 

157. Hi Wind Solo 

158. Verb Clarinet 

159. PiccoloPeace 

160. Flute/Oboe 

161. Clar. /Flute 

162. Clar/Bassoon 

163. Double Reeds 

164. Bassoon/Horn 

165. Alto Flute 

184. Clarinet/Bb t 

185. Clarinet/ A t 

186. BassClar/Bb t 

187. EngHorn/F t 



ENSEMBLES 

21. Strgs/ Flutes 

22. Resting Pad 

23. Divertimento 

34. Epilogue 

35. Wind Stack 
49. BrassStrings 
61. Harpstrings 
84. Gently Now * 
107. Pizz/Piccolo 
144. Quintoctave 



Bold Type... indicates a User Preset. 

* indicates that the preset is linked to another preset. 

** indicates that the two adjacent presets are linked. 

t the keyboard range is limited to the actual range of the instrument. 

E Ersatz; the instrument was created in Proteus, not sampled. 



ENSEMBLES 

145. Basses&Vios 

146. Violin&Celli 

147. Arco Violins 

148. Arco Duet 

149. Str Section 

150. Arco Strings 

151. In The Pit 

152. «InlhePit« 

153. Rotary Chmbr 

166. WindEnsemble ** 

167. DblReeds/Hrn** 



BRASS 

36. French Horn 1 t 

37. French Horn 2 t 

38. Section Horns 

39. Trumpet 1 + 

40. Trumpet 2 t 

41. Two Trumpets 

42. Harmon Mute + 

43. Trombone 1 t 

44. Trombone 2 t 

45. Tuba t 

46. Back Brass 

47. Bright Brass 

48. Chamber Brass 

168. Verb Horn 

169. Xprsv Cornet 

170. Bone&Trumpet 

171. Bone&Tuba 

172. Trombones 

173. Sfz Brass 

174. Horn Vel+Wh 

188. FrenchHorn/F t 

189. Trumpet/Bb t 

190. Trumpet/D t 



Proteus operation manual 



Proteus/2 Factory Presets 



93 



PROTEUS/2 FACTORY PRESETS 



PERCUSSION 

50. Timpani 

51. Gong/Cymbal 

52. Bass /Snare + 

53. Temple Block 

54. Xylophone 

55. Glockenspiel 

56. Celesta 

57. Tubular Bells 

58. Percussion 1 

59. Percussion 2 

60. Harp 

70. Marimbala 
77. Vibraphone E 
83. Early Perc 
102. Sub It! 
104. CloudChamber 
138. Grandfather 
140. Temple Bell E 

175. Afroblocks E 

176. Timba Mallet 

177. Timp w/Tone 

178. Bass Drum 

179. TimpLowBlock 

180. Deep Drum 

181. Triangle 

182. Big Log E 

183. Gamelan E 



KEYBOARD 

62. Harpsikord E 

63. Notre Dame 
65. Deep Pad 

67. Bell Ensemble 

72. Tinker Bell 

73. Carousel E 
76. Bronze Pad 

87. ShimmerWays * 
89. Requiem 

91. Analog Pad 

92. Chapel Organ 
95. SawBass/Lead 
98. Tarkus Twin 
101. Reginatron 

105. Sepulcher 

106. Lurch Pluck 

111. Square One ** 

112. Square Link ** 
115. Master Tron 
117. Sympathetic 
120. Glitter God 

122. Nice Night 

123. Prophet Lead ** 

124. Prophet Link ** 
126. Link2Shimmer * 

128. Harpsomatic 

129. Phaedra 

130. Cimbalon E 



TEXTURES 

64. Winter Signs 

80. Sombre Winds 

81. Space Cowboy 

82. The Machine 
90. Wrong Room 
93. Electrovocal 
97. Vertigo Pad 
103. Psychlotron 
108. Vampirical 

113. <*> 

114. Sardonicus 
116. Lo Wind Inst 
127. Ascending 



SOUND EFFECTS 

66. Portamento/F 
68. Cyberspace 
71. Grim Reaper 
75. Darn Saucers 
78. Astral Flute 
86. Infinite One 
100. Magic Bells E 
110. Galapagos 

118. Wind Chimes E 

119. Boat Haus 
125. Whistl'n Joe 
133. Dream Garden 
138. Grandfather 



BASS 

69. PizzMoogBass 
79. Kool Bass 
88. Turbo Bass 
94. Fat Boy Tuba 
121. Story Bass 
134. Amplify Bass 
137. Jazz Bass E 
155. C.Bsn/Dbl Bs E 



191. Default 

Bold Type ... indicates a User Preset. 

* indicates that the preset is linked to another preset. 

** indicates that the two adjacent presets are linked. 

E Ersatz - the instrument was created in Proteus, not sampled. 



94 



Proteus/2 Instruments 



Proteus operation manual 



PROTEUS/2 INSTRUMENTS 



SAMPLED SOUNDS 

1. Arco Basses Bowed, 3 piece Bass section 

2. Arco Celli Bowed, 4 piece Celli section 

3. Arco Violas Bowed, 10 piece Viola section 

4. Arco Violin Bowed, 16 piece Violin section 

5. Dark Basses Bass section with a darker tone 

6. Dark Celli Celli section with a darker tone 

7. Dark Violas Viola section with a darker tone 

8. Dark Violin Violin section with a darker tone 

9. Low Tremolo Tremolande Bass section 

10. High Tremolo Tremolande Violin section 

11. Tremolande Tremolande Basses and Violins 

12. Strings 1 Section Bass, Celli, Violas, Violins 

13. Strings 2 Section Bass, Celli, Violas, Violins 

14. Strings 3 Section Bass, Celli, Violas, Violins 

15. Solo Cello Bowed, Solo Cello with natural vibrato 

16. Solo Viola Bowed, Solo Cello with natural vibrato 

17. Solo Violin Bowed, Solo Cello with natural vibrato 

18. Quartet 1 Cello, Viola, Violin 

19. Quartet 2 Bass, Cello, Viola, Violin 

20. Quartet 3 Cello, Viola, Violin 

21. Quartet 4 Cello, Violin 

22. Gambambo Cello, Violin with no vibrato 

23. Pizz Basses Bass section, plucked 

24. Pizz Celli Celli section, plucked 

25. Pizz Violas Viola section, plucked 

26. Pizz Violin Violin section, plucked 

27. Pizzicombo Pizzicato Bass, Celli, Violas, Violins 

28. Flute w/Vib Solo Flute with natural vibrato 

29. Flute noVib Darker Flute with no vibrato 

30. Alt. Flute Flute with natural vibrato 

31. Piccolo Piccolo 

32. Bass Clarinet Sustained Bass Clarinet 

33. Clarinet Sustained Clarinet 

34. Bass Clarinet/Clarinet Bass Clarinet and Clarinet split at C3 

35. Contra Bassoon Contra Bassoon 

36. Bassoon Bassoon 

37. English Horn English Horn with natural vibrato 

38. Oboe w/Vib Oboe with natural vibrato 

39. Oboe noVib Oboe with no vibrato 

40. Alt. Oboe Different Oboe with no vibrato 



Proteus operation manual 



Proteus/2 Instruments 



95 



PROTEUS/2 INSTRUMENTS 



41. Woodwinds Contra Bassoon, Bassoon, English Horn, Oboe 

42. Hi Trombone Trombone 

43. Lo Trombone Slightly different Trombone 

44. mf Trumpet Solo Trumpet, MF attack 

45. ff Trumpet Solo Trumpet, Forte attack 

46. Harmon Mute Solo Trumpet, Harmon Mute 

47. mf French Horn Solo French Horn, MF attack 

48. ff French Horn Solo French Horn, Forte attack 

49. Tuba Tuba 

50. ff Brass Trombone, French Horn, Trumpet 

51. mf Brass Tuba, French Horn, Trumpet 

52. Harp Concert Harp 

53. Xylophone Xylophone 

54. Celesta Celesta 

55. Triangle Triangle 

56. Bass Drum Bass Drum 

57. Snare Drum + See Snare Drum + Chart 

58. Piatti Piatti 

59. Temple Block Temple Block 

60. Glockenspiel Glockenspiel 

61. Percussion 1 See Percussion 1 Chart 

62. Percussion 2 See Percussion 2 Chart 

63. Low Percussion 2 Same as Percussion 2, but at lower pitch 

64. High Percussion 2 Same as Percussion 2, but at higher pitch 

65. Tubular Bell Orchestral Tubular Bell 

66. Timpani Timpani 

67. Timpani/Tubular Bell Timpani/Tubular Bell split at C2 

68. Tambourine Tambourine 

69. Tarn Tarn Tarn Tarn 

70. Percussion 3 See Percussion 3 Chart 

71. Special Effects See Special Effects Chart 



96 



Proteus/2 Harmonic Waveforms 



Proteus operation manual 



PROTEUS/2 INSTRUMENTS 



HARMONIC WAVEFORMS 

72. Oct 1 (Sine) 

73. Oct 2 All 

74. Oct 3 All 

75. Oct 4 All 

76. Oct 5 All 

77. Oct 6 All 

78. Oct 7 All 

79. Oct 2 Odd 

80. Oct 3 Odd 

81. Oct 4 Odd 

82. Oct 5 Odd 

83. Oct 6 Odd 

84. Oct 7 Odd 

85. Oct 2 Even 

86. Oct 3 Even 

87. Oct 4 Even 

88. Oct 5 Even 

89. Oct 6 Even 

90. Oct 7 Even 

91. Low Odds 

92. Low Evens 

93. Four Octaves 



These are the same waveforms that are in 
the Proteus /l and are very useful, either 
to accent certain harmonics in the 
sampled sounds, or combined with other 
waveforms for synthesized and additive 
timbres. 



Frequency (log) 



t 



OCTAVE-5 ODD 



17 



21 



23 



25 



27 



29 



31 



Harmonic 


1 


2 3 


4 5 6 7 


Octave 


1 


2 


3 











8 910 



-» 15 



161718 



->31 



As an example, this chart shows the harmonics present in the Octave 5 Odd waveform. 



Proteus operation manual 



Proteus/2 Waveforms 



97 



PROTEUS/2 INSTRUMENTS 



DIGITAL WAVEFORMS 

94. Sine Wave 

95. Triangle Wave 

96. Square Wave 

97. Pulse 33% 

98. Pulse 25% 

99. Pulse 10% 

100. Sawtooth 

101. Sawtooth Odd Gone 

102. Ramp 

103. Ramp Even Only 

104. Violin Essence 

105. Buzzoon 

106. Brassy Wave 

107. Reedy Buzz 

108. Growl Wave 

109. HarpsiWave 

110. Fuzzy Gruzz 

111. Power 5ths 

112. Filtered Saw 

113. Ice Bell 

114. Bronze Age 

115. Iron Plate 

116. Aluminum 

117. Lead Beam 

118. Steel Extract 



119. Winter Glass 

120. Town Bell Wash 

121. Orchestral Bells 

122. Tubular SE 

123. Soft Bell Wave 

124. Swirly 

125. Tack Attack 

126. Shimmer Wave 

127. Moog Lead 

128. B3 SE 

129. Mild Tone 

130. Piper 

131. Ah Wave 

132. Vocal Wave 

133. Fuzzy Clav 

134. Electrhode 

135. Whine 1 

136. Whine 2 

137. Metal Drone 

138. Silver Race 

139. Metal Attack 

140. Filter Bass 

141. Upright Pizz 

142. Nylon Pluck 1 

143. Nylon Pluck 2 

144. Plucked Bass 



98 



Strings 1, 2 and 3 



Proteus operation manual 



PROTEUS/2 
INSTRUMENT LOCA TIONS 



MIDI 
Key# 



rnnrnminmrn 



48 



Arco Basses 



MIDI 
Key# 



Arco Celli 



Arco Celli 



Arco Violas 



Strings 1 

Instrument 12 



Arco Violas 



Strings 2 

Instrument 13 




Arco Violins 



II III II III II III II III II 



Arco Violins 




MIDI 
Key# 



II III II III II III II III II 



Arco Celli 



Arco Violas 



Arco Violins 



Strings 3 

Instrument 14 




Arco Violas 



Proteus operation manual 



Quartets 1, 2 and 3 99 



MIDI 
Key # 



36 



MIDI 

Key # 



PROTEUS/2 
INSTRUMENT LOCATIONS 



II III II III II III II III II 



Arco Cello 



Arco 
Viola 



Quartet 1 

Instrument 18 




Arco Violin 



II III II III II III II III II 




Arco Cello Arco Viola Arco Cello Arco Viola Arco Violins 

Quartet 2 

Instrument 19 



MIDI 
Key # 



niM™™™ 



36 



Arco Cello 




Arco Viola 



Arco Violin 



Quartet 3 

Instrument 20 



1 00 Percussion 1, 2 and 3 



Proteus operation manual 



PROTEUS/2 
INSTRUMENT LOCATIONS 



MIDI 
Key# 



II III II III II III II III II 




Temple Block 



Triangle Xylophone 



Percussion 1 

Instrument 61 



Piatti Piatti Triangle 



MIDI 
Key# 



HI II III IH II III II III 



Bass Snare 
Drum Drum 



Rim Rim Snare Temple 

Shot Click Roll Block 

Percussion 2 

Instrument 62 



Xylophone 



Tarn Tarn 



Brass Tamborine 



MIDI 
Key# 








Timpani 



Percussion 3 

Instrument 70 



Proteus operation manual 



Pizz., Woodwinds, FX 



101 



MIDI 
Key# 



PROTEUS/2 
INSTRUMENT LOCATIONS 



rainmiminiiin 




Pizzicato Basses Pizzicato Celli Pizzicato Violas 



Pizzicombo 

Instrument 27 



Pizzicato Violins 



96 



MIDI 
Key# 



II Ml II Mill Ml II Mill 



36 



Contra 
Bassoon 



60 



Bassoon English Horn 

Woodwinds 

Instrument 41 




Oboe 



MIDI 
Key# 



II III II III II III II III II 



36 



Tarn Tarn 



60 



84 




96 



Tubular Bell Brass Tambourine Timpani 

Special Effects 

(Transpositions) 

Instrument 71 



Tubular Bell 



102 Proteus operation manual 



Proteus operation manual 7 03 



PROTEUS/3 PRESETS and INSTRUMENTS 



104 Proteus/3 Factory Presets 



Proteus operation manual 



PROTEUS/3 FACTORY PRESETS 



PROTEUS 
Presets 

0-63 ROM 
64-127 RAM 
128-191 ROM 



PROTEUS XR 
Presets 

0-255 RAM 
256-383 ROM 




USER 
USER 



USER 



USER 



ROM 



ROM 



■ On the Proteus XR L 
ROM presets 256-319 

are duplicated in the 

first 64 RAM locations. 



TRUMPETS/HORNS 

2. Desert Dawn 
11. Shofars 
14. Didjeridu 1 
91. Heralds 

137. Trombone (329) 

138. Trumpet (330) 

139. French Horn (331) 
161. Didjeridu 2 (353) 



STRINGS/PL UCKED 

0. Troubadour 

3. Blue Grass 

6. Koto 

10. Irish Harp 

12. Psaltery 

13. Fragrant Tar 
16. Dulcimer 

20. Nylon Guitar 

23. Lotus Land 

24. AmbiJewsHarp 
26. Oud E 

30. Pizzicatos 

33. ModSitars 

34. Mbira E 

36. Cimbalom E 
40. Harp Tones 
43. Shamisen E 
46. Tamburas 
60. Santur E 
66. Er-Hu 
80. Star of Siam 
86. YesirRebab 
106. Bass Mbira E 
128. Stereo Harp (320) 
149. Likembeleo (341) 
154. Harpluck 5th (346) 
156. Nylon Pad (348) 
162. Juicy Slap (354) 
171. Ravoozle (363) 
173. Camelot (365) 
175. Banjo (367) 
177. Juicy Pizz (369) 
185. Berimbau E(377) 



Bold Type indicates a User Preset. 

(XXX) indicates the preset number for a Proteus XR. 

** indicates that the adjacent presets are linked. 

E Ersatz; the instrument was created in Proteus, not sampled. 

T Tuning; the instrument uses an alternate tuning table. 



FLUTES 

5. Ney Flute 

15. Pan Flute 

35. Shakuhachi 

45. Ocarina Solo 

55. Suling 7 

61. Fifths Ney 

65. Flautissimo 

79. Whistling 

100. Uduhachi 

131. Herbal Ney (323) 

141. Chiff Flute (333) 

148. Stereo Siku (340) 

153. FluteTransform (345) 

159. Rhythm Flutes (351) 

164. Gamelan Flute 7(356) 

170. ShakuWhistle (362) 

187. Pennywhistle (379) 



REEDS 

1. Accordion 

17. Bagpipe 

21. Mizmars 

25. Shenai 

31. Mod Harmonica 

41. Paris Musette E 

51. Fsw->Bagpipe 

97. Clarinet E 

129. Chanter Pipes (321) 

180. Dali Drone (372) 



KEYBOARDS 

27. Harmonium E, 7 

41. Paris Musette E 

71. Europa I 

76. Elec. Piano E 

77. Eurostructur 

129. Chanter Pipes (321) 
150. Electro Tine E(342) 
180. Dali Drone (372) 



PERCUSSION 

8. Percussion 1 
18. Percussion 2 
28. Bata Drums 
48. Udu Tones 
58. Pitchin'Perc 
140. Stereo Bata (332) 
147. World Drums (339) 
151. Repique (343) 
163. Gongs (355) 
165. Plexi Delay (357) 

178. Udu Grande (370) 

179. Drum Stacks (371) 
186. Log/Shaker (378) 
189. Panned Perc (381) 



TUNED 

PERCUSSION 

32. Temple Gong 
38. Baya Suwuk 
52. Sake Bell 
54. Brite Bonang 
63. Shinto 
67. Miya Daiko 
75. Tabla Tarang 
85. Saronkembe 

88. Bali Bells 7 

89. Stereo Shake 
92. Bender Bells 
94. Flautaland 
107. Heavy Tibet 
113. Afro Mallets 
118. Sandrum 
122. Balafon 

124. Vodun Drums 
130. The Temple (322) 
134. Punch Ocarina (326) 
136. Stereo Steel (328) 
160. Titse Drum (352) 
169. Timpani E(361) 
172. Syndrums 7(364) 
174. Chimes E, 7(366) 
188. Gamelan T(380) 



Proteus operation manual 



Proteus/3 Factory Presets 



105 



PROTEUS/3 FACTORY PRESETS 



SYNTHESIZERS 


SYNTH PADS 


ENSEMBLES 


19. Hanoi Drone 


39. Peter's Pad 


7. East Indian 


37. Hybrid Winds 


47. Dulcet Bow 


53. Celtic Split 


42. Nu Age 


59. Mizmarized 


142. Akhmirs Tent (334) 


49. Jade Spring 


71. Europa I 


144. Raga (336) 


57. Psaltines 


77. Eurostructur 




64. Dream I 


95. On Land 




68. So Dark 


101. Brass Pad 


BASS 


73. Whambambu 


102. Requiem 


82. Analogue I 


105. Dream HI 


56. Pizz Bass 


83. Silk & Spice 


107. Heavy Tibet 


70. Reso Bass 


90. Arctic Vista 


109. Asiatic Drone 


81. Basov Chorus 


96. Air Gamelan 


111. Xanax 


98. KrafterBass 


98. KrafterBass 


114. Europa II 


125. Bass 


99. Resokeys 


116. New Jerusalem 




104. Orgon 


120. Good Breath 




110. Deep Synth 


143. Big Theme (335) 


191. Default (383) 


112. Rubber Band 


146. Ersatz Ahs (338) 




127. Balithang 


152. Lhasa (344) 




131. Herbal Ney (323) 


155. Netherworld (347) 




181. Gonggnod Mod (373) 


167. Ben Hur (359) 




SYNTHETIC BLENDS 


WEIRD/SOUND FX 




22. Back in Bowl! 


4. Spirit Catch 




44. Syn Kalimba 


9. Waterphone T 




50. Hybrid Pluck 


29. Deep Sea Life 7 




62. Ethnocentric 


74. Forboding 




69. Breathing 


84. Disembodied 




72. Dream II 


89. Stereo Shake 




78. Spanish Ney 


93. Brook Babble 




80. Star of Siam 


103. Metal Cutter 




87. Sukiyaki 


115. Fried Eggs 




94. Flautaland 


126. Jungle Book 




108. Bali Reeds 


132. SpiriSprite ** (324) 




117. Automan Empire 


133. SpiriSprite ** (325) 




119. Ice Bella 


135. Vast Sea (327) 




121. Sundareem 


145. Reverse Drums (337) 




123. Groan Drone 


157. Big Noise (349) 




153. Flute Transform (345) 


168. Spacethang (360) 




158. Tarmon Down (350) 


176. Gorgon (368) 




166. Air Guitar (358) 


184. Catch Rhythm (376) 




182. Lotus Moon (374) 






183. Neydashofar (375) 






190. Zendo (382) 







Bold Type indicates a User Preset. 

(XXX) indicates the preset number for a Proteus XR. 

** indicates that the adjacent presets are linked. 

E Ersatz; the instrument was created in Proteus, not sampled. 

T Tuning; the instrument uses an alternate tuning table. 



106 



Proteus/3 Instruments 



Proteus operation manual 



PROTEUS/3 INSTRUMENTS 



SAMPLED SOUNDS 

AFRICA 

53. Udu Drum Combination - See Udu Drum Chart 

56. Wood Drum Combination - See Wood Drum Chart 

75. Buzz/Likembe .... Combination - Likembe Buzz, Likembe 

76. Likembe African Sansa or "thumb piano" 

77. Likembe Buzz African Sansa with buzz 

89. Udu Tone African Clay Pot with Open Side Hole 

90. Udu Release African Clay Pot - hand released from side hole 

91. Udu Finger African Clay Pot - ring tapping on side 

92 . Udu Slap African Clay Pot - slapping on side 

117. Rosewood Bass.... African Tonal Drum 

118. Rosewood Tick.... African Tonal Drum 

119. Rosewood Harm. African Tonal Drum - harmonic 

120. Rosewood Finger African Tonal Drum 

121. Tanzanian Shaker Wooden Shaker from Tanzania 



AUSTRALIA 

4. Down Under Combination - See Down Under Chart 

37. Roarer/Catcher ... Combination Bull Roarer/Spirit Catcher 

38. Bull Roarer Australian Aerophone - wood plate and cord 

40. Didjeridu Combination - A, B & C Didjeridus 

41. Didjeridu A Tubular Australian Trumpet - looped pattern 

42. Didjeridu B Australian Trumpet - looped tone 

43. Didjeridu C Australian Trumpet - single complex event 

116. Clapper Stick Australian Flat Wood Clapper 

EUROPE 

I. Renaissance Combination - See Renaissance Chart 

5 . Tr oub adour French Nylon String Folk Harp 

7. Dulcimer Steel String Hammered Dulcimer 

I I . Guitar Nylon String Classical Guitar 

17. Pizz Bass Plucked Double Bass 

19. Accordion Modern Keyboard Accordion - looped 

20. Harmonica Harmonica Tone - looped 

21. Vib. Harmonica ... Harmonica Tone with Vibrato - looped 
25. Ocarina Clay Ocarina 

44. Jews Harp Combination - A, B, C, & D Jews Harps 



Proteus operation manual 



Proteus/3 Instruments 



107 



PROTEUS/3 INSTRUMENTS 



EUROPE (cont) 

45. Jews Harp A Metal Jews Harp - playing style A 

46. Jews Harp B Metal Jews Harp - playing style B 

47. Jews Harp C Metal Jews Harp - playing style C 

48. Jews Harp D Metal Jews Harp - playing style D 

49. Trombone Trombone 

50 . French Horn French Horn 

51. Trumpet Trumpet 

74. Castanet Spanish Castanets 

INDO-ASIAN 

2. East Indian Combination - See East Indian Chart 

12. Sitar Indian Sitar 

1 3 . Tamburas Indian Tambur as 

18. Tam/Sitar Combination - Tambura/Sitar 

23. Shanai Indian Double Reed Shawm-1 semi rise 

55. The Tabla Combination - See Tabla Chart 

72. Wood Block Chinese Wood Block 

100. Baya Tone Indian Low Tabla - tone, slightly rising pitch 

101. Baya Slap Indian Low Tabla - slap 

102. Baya Hit Indian Low Tabla - sharp hit 

103. Tabla Tone Indian High Tabla - tone 

104. Tabla Mute A Indian High Tabla - dull mute 

105. Tabla Mute B Indian High Tabla - strong mute 

106. Tabla Mute C Indian High Tabla - high pitched mute 

107. Tabla Open Indian High Tabla - slightly tonal mute 

108. China Gong Chinese Brass Gong 

109. Nepal Cymbal Nepalese Brass Cymbal 

110. Tibetan Bowl Highly Resonant Brass Bowl 

INDONESIA 

57. Gamelan Combination - Kenong, Bonang, Saron 

58. Bonang Kenong ... Combination - Bonang, Kenong 

59. Kenong Bonang ... Combination - Kenong, Bonang 

60. Seribu Pulau Combination - Tibeten Bowl, Saron, Bonang 

112. Bonang Small Javanese Bronze Tuned Gong - Gamelan 

113. Kenong Medium Javanese Bronze Gong - Gamelan 

114. Saron Javanese "Xylophone" - Gamelan 

115. Suwuk Gong Large Shallow Javanese Gong - Gamelan 



108 



Proteus/3 Instruments 



Proteus operation manual 



PROTEUS/3 INSTRUMENTS 



INDONESIA (cont) 

122. Hula Stick Bamboo Shaker from the Pacific Islands 

123. Log Drum Pitched Indonesian Wooden Drum 

IRELAND 

6. Irish Harp Steel String Folk Harp 

24. Penny Whistle Irish Tin Whistle 

JAPAN 

8. Koto Japanese 13-string Zither 

30. Shakuhachi Japanese End-blown Bamboo Flute 

MIDDLE EAST 

10. Hi Tar Iranian Lute 

14. Psaltry Middle Eastern Bowed Psaltry 

22. Mizmars Middle Eastern Double Reed Shawms 

26. Shofar A Hebrew Ceremonial Ram's Horn 

27. Shofar B Hebrew Ceremonial Horn - 1 semitone rise/fall 

28. Shofars Combination - Shofar A/Shofar B 

3 1 . Ney Flute Side Blown Wooden Flute 

52. Mid East Drum .... Combination - See Mid. Eastern Drum Chart 

80. Deff Slap Egyptian Frame Drum 

81. Deff Mute Egyptian Frame Drum - muted 

82. Bendir Middle Eastern 16" Gut Snare Drum 

83. ReqOpen Middle Eastern Tambourine 

84. Req Slap Middle Eastern Tambourine - slapped 

111. Crotales Small Egyptian Pitched Cymbals 



SCOTLAND 

32. Bagpipe Drone .... Scottish Highland Drone Pipe 

33. Chanter A Scottish Highland Bagpipe - dbl. reed chanter 

34. Chanter B Scottish Highland Bagpipe - dbl. reed chanter 

35. Drone /Chanter A Combination Drone /Chanter A 

36. Drone /ChanterB . Combination Drone /Chanter B 



Proteus operation manual 



Proteus/3 Harmonic Waveforms 



109 



PROTEUS/3 INSTRUMENTS 



SOUTH AMERICA 

29. Siku South American End-blown Flute 

61. Surdo Drum Combination - Surdo Open/Surdo Mute 

62. Maracas Combination - Maraca A/B/C/D 

78. Surdo Open Large South American Bass Drum 

79 . Surdo Mute Muted South American Bass Drum 

85. Maraca A Latin American Gourd Maraca- shake 

86. Maraca B Latin American Gourd Maraca- shake 

87. Maraca C Latin American Gourd Maraca- mute 

88 . Maraca D Latin American Gourd Maraca- short mute 

99 . Crickets Brazilian Wooden Blown Rattle 



USA 

3. Folk America Combination - See Folk America Chart 

9. Banjo American Five String Banjo 

15. Waterphone 1 Bowed Water Vessel - complex attack 

16. Waterphone 2 Bowed Water Vessel - simple attack 

39. Spirit Catcher Aerophone - rubber band on wooden "kite' 

63. Plexitones Combination - Plexitone styles. 

68. Snare Drum Standard Double-headed Side Drum 

69. Kick Drum Double-headed Bass Drum 

70. Hi-Hat Closed Hi-hat Cymbal Closing 

71. Hi-Hat Open Hi-hat Cymbal Open 

124. Plexi-Tone Six-foot Plexiglass Tube 

125. Plexi-Slap A Six-foot Plexiglass Tube 

126. Plexi-Slap B Six-foot Plexiglass Tube 

127. Plexi-Slap C Six-foot Plexiglass Tube 



WEST INDIES 

54. Bata Drums Combination - See Bata Drum Chart 

73. Steel Drum Steel Drum from Trinidad - Second Pan 

93. Bata Ipu Tone Cuban, Conical Drum - tone 

94. Bata Ipu Slap Cuban, Conical Drum - slapped edge 

95. Bata Enu Tone Cuban, Conical Drum - tone 

96. Bata Hi Tone Cuban, Conical Drum - tone 

97. Bata Hi Mute Cuban, Conical Drum - head slightly muted 

98. Bata Hi Slap Cuban, Conical Drum - slapped edge 



110 



Proteus/3 Harmonic Waveforms 



Proteus operation manual 



PROTEUS/3 INSTRUMENTS 



COMBINATION 

64. Traps Combination - See Traps Chart 

65. All Percussion 1 ... Combination - See All Percussion 1 Chart 

66. All Percussion IP Same as All Percussion 1 with panning 

67. All Percussion 2 ... Combination - See All Percussion 2 Chart 



HARMONIC WAVEFORMS 

128. Oct 1 (Sine) 

129. Oct 2 All 

130. Oct 3 All 

131. Oct 4 All 

132. Oct 5 All 

133. Oct 6 All 

134. Oct 7 All 

135. Oct 2 Odd 

136. Oct 3 Odd 

137. Oct 4 Odd 

138. Oct 5 Odd 

139. Oct 6 Odd 

140. Oct 7 Odd 

141. Oct 2 Even 

142. Oct 3 Even 

143. Oct 4 Even 

144. Oct 5 Even 

145. Oct 6 Even 

146. Oct 7 Even 

147. Low Odds 

148. Low Evens 

149. Four Octaves 



The Harmonic Waveforms are extremely useful. 
They can be used to add specific harmonics to 
sampled sounds, or be combined with other 
waveforms to create synthesized and additive 
textures. 




Frequency (log) 



OCTAVE-5 ODD 



. 



Harmonic 
Octave 



As an example, this chart shows the harmonics present in the 
Octave 5 Odd waveform. 



SINGLE CYCLE WAVEFORMS 

150. Synth Cycle 1 

151. Synth Cycle 2 

152. Synth Cycle 3 

153. Synth Cycle 4 

154. Fundamental Gone 1 

155. Fundamental Gone 2 

156. Bite Cycle 

157. Buzzy Cycle 1 



Proteus operation manual 



Proteus/3 Digital Waveforms 



111 



PROTEUS/3 INSTRUMENTS 



SINGLE CYCLE WAVEFORMS (cont) 






158. Metalphone 1 






159. Metalphone 2 






160. Metalphone 3 






161. Metalphone 4 






162. Duck Cycle 1 






163. Duck Cycle 2 






164. Duck Cycle 3 






165. Wind Cycle 1 






166. Wind Cycle 2 






167. Wind Cycle 3 






168. Wind Cycle 4 






169. Organ Cycle 1 






170. Organ Cycle 2 






DIGITAL WAVEFORMS 


CONTRIVED 


171. Noise 


INSTRUMENTS 


172. Dark Noise 


195. 


Asian Gongs 1 


173. Triangle 


196. 


Asian Gongs 2 


174. Square 


197. 


Suwak Wave 


175. Sawtooth 


198. 


Savannah Land 


176. Sawtooth Odd Gone 


199. 


Swamp Thing 


177. Ramp 


200. 


Bugs 1 


178. Ramp Even Only 


201. 


Bugs 2 


179. Violin Essence 


202. 


Bugs 3 


180. Buzzoon 


203. 


Bugs 4 


181. Brassy Wave 


204. 


Bugs 5 


182. Reedy Buzz 


205. 


Bugs 6 


183. Growl Wave 


206. 


Crickets 


184. HarpsiWave 


207. 


Woodpecker 1 


185. Fuzzy Gruzz 


208. 


Woodpecker 2 


186. Power 5ths 


209. 


Frogz 


187. Filtered Saw 


210. 


Tribe 1 


188. Ice Bell 


211. 


Tribe 2 


189. Bronze Age 






190. Iron Plate 






191. Aluminum 






192. Lead Beam 






193. Steel Extract 






194. Winter Glass 







112 



Renaissance, East Indian, Folk America 



Proteus operation manual 



PROTEUS/3 
INSTRUMENT LOCATIONS 



o 

O 00 

CO CO 

o 2 

O CD 



I I 



Crotales 



Troubadour Harp 



Ocarina 



MIDI 
Key# 



II III II III II III II III II 




i i i 

< O Q 



u5 CO CO CO 
™ CD CD CD 



o 



Renaissance 

Instrument 1 




< o 

CD CD 



MIDI 
Key# 



Accordion 



ll |[fll ill ll ill ll ill ll 



Tamburas 



Sitar 



East Indian 

Instrument 2 



CD ™ ™ 

>. J2 J2 

CD CD CD 

CD I- H 



I I I 




I I I I I I 

CD Q. CD CO C -* 
C CD C _ CD O 

I- OT H 3 O W 
5. S, « 2 ffl CD 
^ CD J3 CD JD Q- 

S^^SCDf 

h- O 



O < 



CD 
I 



I I 



MIDI 
Key# 



II III II III II III II III II 




Dulcimer 



Banjo 

Folk America 

Instrument 3 



1 1 1 

Q CO" 

p. Q. 

CD CD 

X X 

en o 

o <D 



Harmonica 



Proteus operation manual 



Down Under, Middle Eastern Drum, Udu Drum 113 



PROTEUS/3 
INSTRUMENT LOCATIONS 



Spirit Catcher 



Didjeridu B 



w 

Q. 
Q. 

ffl 

o 
I 



MIDI 
Key# 



irnnrwirnnninnir 

36 48 60 72 84 96 



Bull Roarer 



Didjeridu A 

Down Under 

Instrument 4 



Didjeridu C 



MIDI 
Key# 



111 


III 


Def 

II 


f Mute 

III 


III 


III 


Rec 

III 


Open 

III 


II 


111 


36 




48 




60 




72 




84 


96 



Deff Slap 



Bendir 

Middle Eastern Drum 

Instrument 52 



Req Slap 



Udu Release 



Udu Slap 



MIDI 
Key# 



II III II III II III II III II 




96 



Udu Tone 



Udu Finger 

Udu Drum 

Instrument 53 



114 Bata, Tabla, Wood Drum 



Proteus operation manual 



PROTEUS/3 
INSTRUMENT LOCATIONS 



MIDI 
Key# 



c a- 
o | 

H CO 


Tone 
Mute 
Slap 


°- s 

CO o 
CO l_ 


Mute 
Slap 
Slap 


CD 


Tone 
Slap 
Slap 


c °- 
o « 
H CO 


Tone 
Mute 
Slap 


o « 
H CO 


Tone 
Mute 
Slap 






3 c 




=S c 












Q_ CL. 


XXX 


B-LJJ 


XXX 


B-LJJ 


XXX 


CL Q. 


XXX 


Q. CL 


XXX 


CD CO 




CO CO 




CO CO 




CO CO 




CO CO 
























CO CO 




CO CO 


CO CO CO 


CO CO 


CO CO CO 


CO CO 


CO CO CO 


CO CO 


CO CO CO 


co co 
1 1 


CO CD CD 
1 1 1 


CO CD 

1 1 


co co co 
1 1 1 


1 1 


cd co m 
1 1 1 


CD m 
1 1 


CD CD CD 
1 1 1 


CD CD 
1 1 


CD CD CD 
1 1 1 



II III II III II III II III II 



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Bata Drums 

Instrument 54 



MIDI 
Key # 



_CO *; 

co x 

CO CO 

>. >, 

CO CO 

CD CD 
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< CD 

B B 
"3 "3 



_co ro 

co co 

H h- 

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ro « 

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1- 1- 1- 




The Tabla 




Instrument 55 



All Instruments in The Tabla are 
played back at their original pitch. 



Rosewood Bass 



Rosewood Harmonic 



MIDI 
Key# 



irmrnrifflTiimm 




Rosewood Tick 



Rosewood Finger 



Wood Drum 

Instrument 56 



Proteus operation manual 



Traps, All Percussion 1+2 115 



PROTEUS/3 
INSTRUMENT LOCATIONS 



Kick Drum 



Closed Hi-hat 



MIDI 
Key# 



rain™™™ 




Snare Drum 



Traps 

Instrument 64 



Open Hi-hat 






c I - 



CO o 


id Q. o 


E E 


E E E 


< CO 


O O co 


CZ £Z 
CD CD 


c ^ ^ 


^ ^ 


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m 

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o o o 

CD CO CD 
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CD CD 


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raca 
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CZ £Z 
CD CD 
N N 


izani 
aSti 
aSti 


CO CO 
CD CD 


stane 
stane 
stane 


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CD CD 


CD CD ro 


CD CD 


CD =! = 


ZJ Zi 


CD CD CD 


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I I I 


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5 5 
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^ S H 

1 1 1 


1- H 
1 1 


H X X 

1 1 1 


X X 

1 1 


o o o 
1 1 1 



MIDI 
Key# 






36 



48 



60 




96 



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I I I I I I 



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Key# 



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co E 

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E E 

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a je 

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xi-Tone 
xi-Slap B 
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3 




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Slap 





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co *g Q 


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ta IpL 


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X 

5 


co ro ro 


O O 


CO CO 


CD 
C 
CO 
C 




3 






"O "O CO 


CD '^ 







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Q. D. _l 

1 1 1 


CO Q 

1 1 


X X * 

1 1 1 


5 5 

1 1 


d d m 
1 1 1 


CO O 
1 1 


CO 1- 1- 
1 1 1 


X X 
1 1 


1 



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48 




96 



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116 



Envelope Times 



Proteus operation manual 



LFO, DELAY and ENVELOPE TIMES 



LFO 


RATES 


Knob 


Rate (Hz) 


000 


.052 


5 


.1 


10 


.6 


15 


.8 


20 


1.33 


25 


1.8 


30 


2.2 


40 


3.3 


50 


7 


60 


10 


80 


16 


127 


25 



D 


ELAY 


Knob 


Time (sec) 


000 





5 


.125 


10 


.25 


20 


.6 


32 


1 


40 


1.5 


64 


2.5 


75 


3.5 


80 


4.2 


96 


6.2 


100 


7 


127 


13 



H 


OLD 


Knob 


Time (sec) 








5 


.125 


10 


.25 


20 


.4 


30 


.8 


40 


1.3 


50 


1.75 


60 


2.3 


70 


3.2 


75 


3.5 


80 


4.2 


99 


6.5 



Delay time applies to both instrument delay 
and envelope delay. 

The alternate and auxiliary envelope 
parameters are identical except for the 
attack times. 



ALTERNATE 
ATTACK 



Knob 


Time (sec) 








5 


.125 


10 


.25 


15 


.4 


20 


.6 


30 


1.2 


40 


2.2 


50 


4 


60 


9 


75 


15 


80 


20 


99 


60 


DECAY 


Knob 


Time (sec) 








5 


.125 


10 


.25 


20 


.4 


30 


.75 


40 


1.5 


50 


3 


60 


5 


70 


9 


75 


12 


80 


18 


99 


40 



au; 

Al 


KILIARY 
ITACK 


Knob 


Time (sec) 








5 


.125 


10 


.25 


15 


.5 


20 


.8 


30 


1.5 


40 


2.75 


50 


5.25 


60 


9 


75 


23 


88 


99 


99 


136 



RELEASE 



Knob 


Time (sec) 








5 


.125 


10 


.25 


15 


.4 


20 


.6 


30 


1.2 


40 


2.2 


50 


4 


60 


9 


75 


15 


80 


20 


99 


60 



Proteus operation manual 



Specifications 



117 



TECHNICAL SPECIFICATIONS 



Audio Channels: 32 

Audio Outputs: 6 

Submix Inputs: 4 

Max. Output Level: +4 dB into 600Q 

Output Impedance: 100Q 

MIDI: In, Out, Thru 

Data Encoding: 16 bit Linear 

Sample Playback Rate: 39kHz 

Signal to Noise: >90 dB 

Dynamic Range: >90 dB 

Frequency Response: 20Hz-18kHz 

THD +N: <.05% 

IMD: <.05% 

Power Requirements: 25 watts 
Operating Temperature: 110°F Max. 
Dimensions: H: 1.75" W: 19" L: 8.5" 

Weight: Proteus/1 41b, 7oz (2 Kg) 

Proteus /l jOu, 2 . 41b, 7oz (2 Kg) 

Proteus/2 41b, 7oz (2 Kg) or 41b, 12.5 oz (2.173Kg) 

Proteus/3 41b, 7oz (2 Kg) 



118 



MIDI Specifications 



Proteus operation manual 



MIDI SPECIFICATIONS 



RECEIVED CHANNEL COMMANDS 

Channels number (n) = 0-15. Message bytes are represented in hex. All 
other numbers are decimal. 



Command 


Message 


Comments 


Note Off 


8n kk vv 


release velocity is ignored 


Note Off 


9n kk vv 


velocity = note off 


Key Pressure 


An kk pp 




Program Change 


Cnpp 




Channel Pressure 


Dn pp 




Pitch Wheel 


En 11 mm 


1 = lsb, m = msb 


Realtime Controller 


Bn cc vv 


cc = 00-31 


Footswitch 


Bn cc vv 


cc = 64-79, vv > 64 = on 


Volume 


Bn 07 vv 




Pan 


Bn 0A vv 


= hard left, 127 = hard right 


Reset All Controllers 


Bn 79 00 


ignored in omni mode 


All Notes Off 


Bn 7B 00 


ignored in omni mode 


Omni Mode 


Bn 7D 00 


forces all notes & controls off 


Mono Mode 


Bn 7E 00 


forces all notes & controls off 


Poly Mode 


Bn 7F 00 


forces all notes & controls off 



Proteus operation manual 



MIDI Specifications 



119 



MIDI SPECIFICATIONS 



RECEIVED SYSTEM COMMANDS 

For system exclusive commands, the following format is used: 

FO system exclusive status byte 

18 E-mu ID byte 

04 product ID byte 

dd device ID byte 

cc command byte 

data bytes (256 bytes/preset) 

F7 EOX 

Two MIDI bytes (lsb, msb) are required for each 14 bit data word. Bits 0- 
6 are sent first, followed by bits 7-13 in the next MIDI byte. All data words 
are signed 2's complement values with sign-extension out to the most 
significant bit (bit 13). This convention applies to all data words, regard- 
less of the parameter's value range. 



Command 



Message 



Comments 



Preset Data Request FO 18 04 dd 00 11 mm F7 11 = preset # lsb, 

mm =preset # msb 

7F 7F = all user presets 7E 7F = all factory presets 

Preset Data F0 18 04 dd 01 11 mm cs F7 

cs = checksum = sum of all data bytes 



Parameter Value 
Request 

Parameter Value 



F0 18 04 dd 02 pi pm F7 

pi = parameter # lsb pm = msb 

F0 18 04 dd 03 pi pm vl vm F7 

vl = value lsb vm = msb 



Tuning Table Request F0 18 04 dd 04 F7 

Tuning Table F0 18 04 dd 05 F7 

Program Map Request F0 18 04 dd 06 F7 
Program Map Data F0 18 04 dd 07 F7 



120 



MIDI Specifications 



Proteus operation manual 



MIDI SPECIFICATIONS 



TRANSMITTED SYSTEM COMMANDS 



Command 



Preset Data 



Message 



Comments 



FO 18 04 dd 01 11 mm CS F7 

cs = checksum = sum of all data bytes 



Parameter Value FO 18 04 dd 03 pi pm vl vm F7 

pi = parameter # lsb pm = msb vl = value lsb vm = msb 

Tuning Table FO 18 04 dd 05 F7 TT data = 256 bytes 

Program Map Data F0 18 04 dd 07 F7 

Parameter Editing 

Preset and setup parameters may be edited individually using system 
exclusive commands. The preset being edited is the active preset (the 
preset which is assigned to the received channel). The value of a given 
parameter may be changed by sending a parameter value command. The 
value of a parameter may be read by sending a parameter value request, to 
which the machine will respond by sending back the parameter value. 

Preset data may also be transmitted or received in a single block (one 
complete preset) using system exclusive commands. A preset data request 
may be issued by a host computer, to which the machine will respond 
sending the datablock for the requested preset. Conversely, the computer 
may send new preset data which will replace the specified preset cur- 
rently in the machine. Additionally, a front panel command will transmit 
one or all user presets for backup onto an external sequencer. These 
presets may be restored by simply playing back the sequence into the 
machine. 

Alternate Tuning 

The "user tuning table" allows any key to be tuned to an arbitrary pitch 
over an 8 octave range. If selected in the preset, an alternate tuning may 
be achieved by modifying the tuning values from the front panel or 
downloading a new table into the machine. The table consists of 128 
words, corresponding to the MIDI key range, kept in non-volatile mem- 
ory. Each word is a pitch value expressed in 1 / 64 semitones, offset from 
key number (c-2). Therefore, for equal temperament, each entry in the 
table would be equal to its key number times 64. 



Proteus operation manual 



MIDI Specifications 



121 



MIDI SPECIFICATIONS 



Preset Data Format 

Preset data is transmitted and received using the following format: The 
standard system exclusive header (described below) is followed by the 
preset number (lsb, msb), a 14 bit word for each preset parameter (lsb, 
msb) starting at parameter #0 and continuing upward, a one-byte check- 
sum, and the end-of-exclusive byte (F7). The checksum is the modulo 128 
sum of all the parameter value bytes; that is, all of the data bytes following 
the preset number and before the checksum. 



PRESET PARAMETERS 

Parameter Number 

0-11 
12-14 
15-18 
19-22 

23 
24 
25 
26 
27 
28 
29 
30 
31 
32 
33 
34 
35 
36 
37 
38 
39 
40 
41 
42 
43 
44 
45 
46 



Parameter Name 

preset name (12 ascii characters) 

link 1-3 

low key 0-3 

high key 0-3 

pri instrument 

pri sample start offset 

pri tuning (coarse) 

pri tuning (fine) 

pri volume 

pri pan 

pri delay 

pri low key 

pri high key 

pri alt attack 

pri alt hold 

pri alt decay 

pri alt sustain 

pri alt release 

pri alt envelope on 

pri solo mode 

pri chorus 

pri reverse sound 

sec instrument 

sec sample start offset 

sec tuning (coarse) 

sec tuning (fine) 

sec volume 

sec pan 



122 



MIDI Specifications 



Proteus operation manual 



MIDI SPECIFICATIONS 



PRESET PARAMETERS (cont) 



Parameter Number 

47 

48 

49 

50 

51 

52 

53 

54 

55 

56 

57 

58 

59 

60 

61 

62 

63 

64 

65 

66 

67 

68 

69 

70 

71 

72 

73 

74 

75 

76 

77 

78 

79 

80 

81-86 

87-92 

93-98 

99-106 

107-114 



Parameter Name 

sec delay 
sec low key 
sec high key 
sec alt attack 
sec alt hold 
sec alt decay 
sec alt sustain 
sec alt release 
sec alt envelope on 
sec solo mode 
sec chorus 
sec reverse sound 
crossfade mode 
crossfade direction 
crossfade balance 
crossfade amount 
switch point 
LFO 1 shape 
LFO 1 frequency 
LFO 1 delay 
LFO 1 variation 
LFO 1 amount 
LFO 2 shape 
LFO 2 frequency 
LFO 2 delay 
LFO 2 variation 
LFO 2 amount 
aux delay 
aux attack 
aux hold 
aux decay 
aux sustain 
aux release 
aux amount 
key/vel source 1-6 
key/vel dest 1-6 
key/vel amount 1-6 
realtime source 1-8 
realtime dest 1-8 



Proteus operation manual 



MIDI Specifications 



123 



MIDI SPECIFICATIONS 



PRESET PARAMETERS (cont) 



Parameter Number 


Parameter Name 


115-117 


footswitch dest 1-3 


118-121 


controller amount A-D 


122 


pressure amount 


123 


pitch bend range 


124 


velocity curve 


125 


keyboard center 


126 


submix 


127 


keyboard tuning 



GLOBAL/SETUP PARAMETERS 



Parameter Number 

256 

257 

258 

259 

260 

261 

262 

263 

264 

265 

266-269 

270-272 

273 

274 

384-399 
400-415 
416-431 
512-639 



Parameter Name 

MIDI basic channel 
MIDI volume 
MIDI pan 
current preset 
master tune 
transpose 

global pitch bend range 
global velocity curve 
MIDI mode 
MIDI overflow 
controller A-D numbers 
footswitch 1-3 numbers 
mode change enable 
device ID number 

MIDI channel enable 
MIDI program change enable 
mix out (per MIDI channel) 
MIDI program /preset map 



Program Mapping 

MIDI program changes will normally correspond to internal preset 
numbers 0-127. However, the user may "re-map" any MIDI program 
number, assigning it to an arbitrary internal preset. This feature allows 
any of the internal presets to be selected from a MIDI keyboard controller. 



124 



MIDI Specifications 



Proteus operation manual 



MIDI SPECIFICATIONS 



PROTEUS XR 

Several commands have been added to support external control of the 
Proteus XR. 

Preset Data Request 

Proteus presets are organized intobanks. Eachbank consists of 64 presets. 
Proteus XR has six banks of presets (0-383), while the standard Proteus 
only has the first three (0-191). Banks may be requested using the preset 
request command and the appropriate preset code listed below. 





Bank 


Preset Range 


Requested Preset # 


MIDI Message 







0-63 


1024 (0x400) 


F0 18 04 dd 00 00 08 F7 




1 


64-127 


1025 (0x401) 


F0 18 04 dd 00 01 08 F7 




2 


128-191 


1026 (0x402) 


F0 18 04 dd 00 02 08 F7 




3 


192-255 


1027 (0x403) 


F0 18 04 dd 00 03 08 F7 




4 


256-319 


1028 (0x404) 


F0 18 04 dd 00 04 08 F7 




5 


320-383 


1029 (0x405) 


F0 18 04 dd 00 05 08 F7 


./l Xpander only - 


6 


384-447 


1030 (0x406) 


F0 18 04 dd 00 06 08 F7 


XR only - 


0-3 


0-255 


-3 


F0 18 04 dd 00 7D 7F F7 


XR only - 


4-5 


256-383 


-4 


F0 18 04 dd 00 7C 7F F7 



The original commands for requesting user presets (-1:64-127) and factory 
presets (-2:0-63) are still supported to retain compatibility with existing 
software. 

Master Settings Request 

A new command has been added which requests the master settings as a 
group. The master settings request is: F0 18 04 dd 08 F7. 
Proteus will respond by sending the master settings as a string of 
parameter changes. This is identical to the data that is sent when the 
procedure is initiated from the front panel. 

Version Request 

A new command has been added to allow identification of machine type 

and software revision. 

The version request command is: F0 18 04 dd 0A F7. 

Proteus will respond to this command with the version data: 

F0 18 04 dd 0B w rl r2 r3 F7 

where vv = version code (0=standard Proteus, 1 = XR) 

rl, r2, r3 = software revision # in ascii (decimal point between rl& r2) 



Proteus operation manual 



MIDI Specifications 



125 



ADDENDUM TO MIDI SPECIFICATION 



PROTEUS/2, PROTEUS/3 and PROTEUS EXPANSION SETS 

Revision 4 3-4-92 

Please note changes to "Instrument List" command and the addition of 
variable chorus. 



SOUND SETS 

A Proteus sound set consists of 4 Megabytes of sample data (sound 
ROMs), plus additional instrument data in the program ROMs. Proteus 
may contain one or two complete sound sets. Each sound set has a unique 
ID number; the "Pop/Rock" sound set in Proteus/1 is sound set #0. 
Proteus/2 contains sound sets #1 and #2. It is desirable to be able to 
support "mix-and-match" configurations, and be able to successfully 
transfer presets from one configuration to another. For example, it should 
be possible to exchange presets between a Proteus /2 and an expanded 
Proteus /l if the instruments come from common sound sets. 

In order to achieve this compatibility between different Proteus configu- 
rations, it is necessary to include the sound set number as part of the 
instrument number when exchanging data. The instrument number (as 
expressed over MIDI) now contains two fields: bits 8-12 specify the sound 
set (0-31) and bits 0-7 specify the instrument within the sound set (0-255). 
Since Proteus /l contains sound set #0, compatibility with existing prod- 
ucts is maintained. 



Instrument bit fields: 



12 

< — sound set- 
(5 bits) 



8 7 



-> <- 



-instrument #- 
(8 bits) 




-> 



Within any given sound set, the first instrument is #1, and #0 selects 
"None". 



126 



MIDI Specifications 



Proteus operation manual 



ADDENDUM TO MIDI SPECIFICATION 



EXPANDED PRESETS 

An expanded Proteus /l will contain additional factory presets in ROM. 
The additional presets can be uploaded using the "preset /bank request" 
command. The new presets will be in bank #3 (0x403) for non-XR, and 
bank #6 (0x406) for XR versions. 



PRODUCT ID 

The product ID code is the same for all configurations. 



CONFIGURATION MESSAGE 

A new MIDI command has been added to identify the sound sets in a 
given Proteus. The configuration request command is: 

F0 18 04 dd 0C F7 

Proteus will respond to this command with the configuration message: 

F0 18 04 dd 0D pi pm si 11 ml s2 12 m2 F7 

where pi and pm are the lsb and msb of the total number of presets, si and 
s2 are the ID numbers of the sound sets contained in this unit, and 
nl=ll,ml and n2=12,m2 represent the lsb and msb of the number of 
instruments in each sound set. If no expansion set is present, s2 will be 7F 
and n2 will be zero. If the Proteus contains firmware earlier than version 
2.10, no response will be given, and one can assume sound set #0. 

The current configurations are as follows: 



Product 


Sound Set(s) 


Proteus /l 





Proteus/ 2 


1,2 


Proteus /l + Orchestral 


0,2 


Proteus /l + Invision 


0,3 


Proteus/ 3 


4 



Proteus operation manual 



MIDI Specifications 



127 



ADDENDUM TO MIDI SPECIFICATION 



INSTRUMENT LIST 

A new MIDI command has been added to allow external software to 
upload the instrument list as an array of ascii strings. The instrument 
list request command is: 

FO 18 04 dd 0E F7 

Proteus will respond to this command with the instrument list 
message: 

FO 18 04 dd OF (14 bytes per instrument) F7 

The instruments are transmitted in the same order they appear to the 
user on Proteus. Note that a given instrument's position in this list 
may be different from its actual number within the sound set. 

instrument entry: il im (11 ascii bytes) 00 

Each instrument entry in the list consists of the actual instrument 
number (as defined in "Sound Sets" above) in lsb, msb format, fol- 
lowed by the instrument name (11 ascii characters plus a zero termina- 
tor) for a total of 14 (decimal) bytes. The first instrument is #1 as 
displayed on Proteus. The total number of instrument names is equal 
to (nl+n2) in the configuration message above. Proteus firmware 
earlier than version 2.10 will not respond to this command. 



PRESET LIST 

A new MIDI command has been added to allow external software to 
upload all preset names as an array of ascii strings. The preset list 
request command is: 

F0 18 04 dd 12 F7 

Proteus will respond to this command with the preset list message: 

F0 18 04 dd 13 (13 bytes per preset) F7 

Each preset name is 12 ascii characters, plus a zero terminator, for a total 
of 13 (decimal) bytes. The first preset is #0. The total number of preset 
names is equal to pp in the configuration message above. Proteus firm- 
ware earlier than version 2.10 will not respond to this command. 



128 



MIDI Specifications 



Proteus operation manual 



ADDENDUM TO MIDI SPECIFICATION 



■ Proteus only receives 
the MIDI Standard Bulk 

tuning dumps. For more 
information on the MIDI 
Tuning Standard and 
Bank Select format, 
contact the Interna- 
tional MIDI Association. 



VARIABLE CHORUS 

Proteus firmware starting with version 2.10 features a variable chorus 
depth. The range of values is now (Off) through 15, with a value of 7 
corresponding to 1 (On) in Proteus/ 1. The MIDI parameter number is 
unchanged. 



BULK TUNING DUMP 

Proteus /3 and above can now receive MIDI Tuning Standard dumps in 
addition to its own SysEx tuning table dumps. Proteus will only transmit 
in it's own SysEx tuning format. The MIDI Tuning Standard is as follows: 

F0 7E dd 08 01 tt <tuning name (16 ascii)> ... F7 

dd= device ID tt= tuning prog # (ignored) tuning name = (ignored) 

... = data (xx yy zz) frequency data for one note repeated 128x 
xx yy zz = Oxxxxxxx Oabcdefg Ohijklmn 

xxxxxxx = semitone abcdefghijklmn = fraction of semitone in .0061 cent 
units. Examples: Middle C = 3C 00 00 A440 = 45 00 00 



TRANSFER OF PRESETS FROM PROTEUS MODULES 
TO THE MASTER PERFORMANCE SYSTEM 

Presets may be transferred from the Proteus sound module to the Master 
Performance System using the Send MIDI Data function in the Master 
menu if the two units have the same sound sets. Parameters on the Master 
Performance System (such as effects) which do not exist on the Proteus 
modules, will be set to a default value. Presets will be placed into the 
matching location on the Master Performance System and will overwrite 
presets currently residing there. If there is no RAM location on the Master 
Performance System corresponding to that of Proteus, then the preset will 
simply not be received. For example, when transferring the RAM bank of 
presets 64-127 from Proteus to the Master Performance System, only 
presets 100-127 will be received, since locations 64-99 do not exist in RAM 
on the Master Performance System. Presets 64-99 must first be moved 
above location 99 in order to be transferred. A computer based preset 
editor/librarian helps immeasurably in this operation and is highly 
recommended. If the Proteus contains sound sets (Orchestral, World, 
In Vision) which are not contained in the Master Performance System, the 
preset will transfer but the instrument will be set to 000 (off). 



Proteus operation manual 



Index 



129 



INDEX 



aftertouch See pressure 


instrument list 


alternate envelope 48 


Proteus /l 76-79 


See also envelope generator 


Proteus/1 pu> 2 88-89 


attack 30 


Proteus/2 94-97 


auxiliary envelope 53 


Proteus/3 106-111 


See also envelope generator 


inputs 7-9 


C 

chorus 46, 65 


intonation See keyboard tuning 


K 


connections 7-9 


key number 34 


contour 


key number chart 23, 42 


See envelope generator 


key range 43-45 


controls 13 


key velocity 29 


crossfade mode 49-51 


velocity modulation 33, 54 


cursor 13 


keyboard center 34, 58 


D 

decay 30 


keyboard tuning See master tune 


L 


delay 


layer 6, 27, 44, 59 


envelope generator delay 30 


LFO 


instrument delay 46 


definition 31 


time chart 110 


programming 51-52, 54-55 


demo sequence 23 


time chart 116 


E 

edit menu 41 


link 59 


M 


envelope generator 


mapping, presets 


description 30 


See MIDI program->preset 


alternate envelope 48 


master menu 16 


auxiliary envelope 53 


master tune 16 


time chart 116 


MIDI 


external processing 9,10, 71 


MIDI channel selection 14 




MIDI enable 19 


F 


MIDI footswitch 21, 29, 56 


footswitches 21, 29, 56 


MIDI in 7-9 




MIDI key number chart 19 


G 


MIDI mode 14 


global controls 


MIDI mode change 15 


global pitch bend 17 


MIDI out 5-9 


global velocity curve 17 


MIDI overflow 19 




MIDI panning control 14, 45 


H 


MIDI preset change 19 


headphones 7 


MIDI program-> preset 21-22 


hold 30 


MIDI specifications 118-128 




MIDI thru 7-9 


1 


MIDI realtime controllers 36-37 


ID number, MIDI 18 


amounts 56 


instrument 6, 43-45 


modulation assignment 55 




controller numbers 20 



130 



Proteus operation manual 



INDEX 



M (cont.) 

MIDI system exclusives 119-128 

ID number 18 
MIDI volume control 14, 45 
mix outputs 7-10, 38, 43, 71 
modulation 

description 28 

keyboard and velocity chart 33, 54 

footswitch 21, 29, 56 

realtime modulation chart 35, 55 

sources 29 
mono See MIDI modes 
multi-timbral operation 15, 18, 68 

O 

omni See MIDI modes 
outputs 7-9 

P 

pan 14 

MIDI control of pan 14, 45 
patch 32 

patch sheet 72 
perc. instr. charts 80-84, 89, 98-101, 

112-115 
pitch bend range 17, 57 
poly See MIDI modes 
power requirements 10 

See also Precautions section 
pressure 

mono 29, 35, 55, 56 

polyphonic 29, 35, 55, 56 
primary 6, 43-45 
Proteus Synthesis 66 
preset 6 

listing Proteus /l 74-75 

listing Proteus/1 ]OU*2 86-87 

listing Proteus/ 2 92-93 

listing Proteus / 3 1 04-1 05 

naming 34 

recording into a sequencer 22 

saving presets 60 

selection 14 

preset change via MIDI 19, 69 



random wave 31, 51 
realtime modulation 35, 55 
release 30 
reverse sound 47, 65 
ripoff 70 



sampling, basic decription 24 

sampled sound listing 76 

saving, presets 60 

sawtooth wave 31, 51 

secondary 6, 43-45 

sequencer 

external sequencer setup 68-70 
Proteus demo sequences 23 
recording presets into 22 

sine wave 31, 51, 78 

solo mode 47 

sound start 47, 54, 67 

specifications 

MIDI 118-128 
technical 117 

split keyboard 27,44,59 

square wave 31, 51 

submix 

inputs/outputs 7-10, 38, 43, 71 
send/return cables 9, 71 

sustain 30 

switch point 51 



transpose 17 

triangle wave 31, 51 

tuning 

alternate tuning 22-23, 58-59 
master tune 16 
instrument tuning 46 

U 

user key tuning 22-23, 58-59 



velocity curves 17, 34, 57 




viewing angle 23 




volume 




volume control 13 




channel volume 14 




MIDI volume control 


14,45 


W 




waveforms 




instrument 78-79, 89, 


96-97, 


110-111 





LFO 31, 51